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卮亘丕賳賴鈥屰� 卮蹖賱蹖
卮亘丕賳賴鈥屰� 卮蹖賱蹖貙 蹖讴蹖 丕夭 亘乇噩爻鬲賴鈥屫臂屬� 丌孬丕乇 丕丿亘蹖 賲毓丕氐乇貙 賳禺爻鬲蹖賳 讴鬲丕亘 亘賵賱丕賳蹖賵 亘賵丿 讴賴貙 賲鬲丕爻賮丕賳賴 丿乇 爻丕賱 賲乇诏 丕賵貙 亘賴 夭亘丕賳 丕賳诏賱蹖爻蹖 鬲乇噩賲賴 卮丿 賵 丕賵 乇丕 亘賴 賳賵蹖爻賳丿賴鈥屰屰� 賲卮賴賵乇 丿乇 鬲賲丕賲 丿賳蹖丕 鬲亘丿蹖賱 讴乇丿. 卮亘丕賳賴鈥屰� 卮蹖賱蹖 丿丕爻鬲丕賳蹖 亘爻蹖丕乇 禺賵丕賳丿賳蹖 賵 爻賳噩蹖丿賴 亘丕 賱丨賳 卮丕毓乇丕賳賴 賵 卮丕禺賴鈥屬囏й� 賮乇毓蹖 賮乇丕賵丕賳 丕爻鬲 讴賴 亘賴 賲爻丕賱賴鈥屰� 丕丿亘蹖丕鬲 丿乇 丿蹖讴鬲丕鬲賵乇蹖 賵 噩賴鬲鈥屭屫臂屸€屬囏й� 丕賴丕賱蹖 丕丿亘蹖丕鬲 丿乇 卮乇丕蹖胤 丿蹖讴鬲丕鬲賵乇蹖 賲蹖鈥屬矩必ж藏�. 卮亘丕賳賴鈥屰� 卮蹖賱蹖 賮乇蹖丕丿 丕毓鬲乇丕囟 亘賵賱丕賳蹖賵 亘賴 鬲賲丕賲 賳賵蹖爻賳丿诏丕賳 丿賵乇賴鈥屰� 丿蹖讴鬲丕鬲賵乇蹖 丕夭 噩賲賱賴 禺賵丿卮 丕爻鬲. 賳卮乇 禺丕乇倬卮鬲 鬲乇噩賲賴鈥屰� 丿賯蹖賯 丕蹖賳 讴鬲丕亘 乇丕 讴賴 亘丕 賲鬲賳 丕氐賱蹖 丕爻倬丕賳蹖丕蹖蹖 賲賯丕亘賱賴 卮丿賴 丕爻鬲 丿乇 丕禺鬲蹖丕乇 禺賵丕賳賳丿賴 賯乇丕乇 賲蹖鈥屫囏� 鬲丕 禺賵丕賳賳丿賴鈥屰� 丕蹖乇丕賳蹖 賴賲 賲孬賱 禺賵丕賳賳丿诏丕賳 爻乇丕爻乇 噩賴丕賳 亘鬲賵丕賳賳丿 丕夭 丕乇夭卮 丕蹖賳 讴鬲丕亘 賲賴賲 亘賴乇賴 亘亘乇賳丿. 鬲賮丕賵鬲鈥屬囏� 丌卮讴丕乇 丕爻鬲.
亘禺卮蹖 丕夭 讴鬲丕亘 卮亘丕賳賴鈥屰� 卮蹖賱蹖:
卮亘蹖 賮賴賲蹖丿賲 賳賴鈥屫辟堌� 賲乇丿賴 丕爻鬲. 亘賴 賮乇賵賱 夭賳诏 夭丿賲 賵 诏賮鬲賲 倬丕亘鈥屬勝� 賲乇丿. 賮乇賵賱 诏賮鬲 爻乇胤丕賳 讴卮鬲鈥屫ж簇� 爻乇胤丕賳. 诏賮鬲賲 亘賱賴 爻乇胤丕賳. 亘乇賵蹖賲 賲乇丕爻賲 禺鬲賲鈥屫ж簇� 賮乇賵賱 诏賮鬲 賲賳 讴賴 賲蹖鈥屫辟堎�. 诏賮鬲賲 賲賳 賴賲 亘丕鬲 賲蹖鈥屫③屬�. 诏賵卮蹖 乇丕 讴賴 诏匕丕卮鬲賲 丕賳诏丕乇 讴賱 賽诏賮鬲鈥屬堏� 乇丕 禺賵丕亘 丿蹖丿賴 亘賵丿賲. 乇賵夭 賽亘毓丿 亘賴 诏賵乇爻鬲丕賳 乇賮鬲蹖賲. 賮乇賵賱 禺蹖賱蹖 亘丕爻賱蹖賯賴 賵 卮蹖讴 賱亘丕爻 倬賵卮蹖丿賴 亘賵丿. 賲孬賱 賽丕乇賵丕丨 卮丿賴 亘賵丿 丕賲丕 卮蹖讴 亘賵丿. 鬲賵 诏賵卮鈥屫з� 夭賲夭賲賴 讴乇丿 賲賱讴鈥屫з� 乇丕 亘賴鈥屫з� 倬爻 賲蹖鈥屫囐嗀�. 噩賲毓蹖鬲 賽丕賳亘賵賴蹖 丌賲丿賴 亘賵丿賳丿 賵 乇丕賴鈥屫辟佖嗀� 賲乇丿賲 亘賴鈥屬呚з� 賲蹖鈥屬聚屬堌池嗀� 賵 亘蹖卮鈥屫� 賴賲 賲蹖鈥屫簇屬�. 賮乇賵賱 诏賮鬲 丕蹖賳 亘趩賴鈥屫堌粹€屭勨€屬囏� 乇丕 亘亘蹖賳! 诏賮鬲賲 禺賵丿鬲 乇丕 賲賴丕乇 讴賳. 亘賴 趩賴乇賴鈥屫ж� 賳诏丕賴 讴乇丿賲. 亘賴 趩賳丿睾乇蹖亘賴 趩卮賲讴 賲蹖鈥屫藏�. 噩賵丕賳 亘賵丿賳丿 賵 丕賳诏丕乇 丨丕賱 賽禺賵卮蹖 賳丿丕卮鬲賳丿 丕賲丕 賲賳 丕丨爻丕爻 賲蹖鈥屭┴必� 賴賲賴 丕夭 禺賵丕亘蹖 亘蹖乇賵賳 丕賮鬲丕丿賴鈥屫з嗀� 讴賴 丿乇 丌賳 丨丕賱 賽禺賵卮 賵 丨丕賱 賽亘丿 趩蹖夭蹖 睾蹖乇 賽鬲氐丕丿賮鈥屬囏й� 賲鬲丕賮蹖夭蹖讴蹖 賳亘賵丿. 賲蹖鈥屫促嗃屫� 倬卮鬲鈥屫池辟� 讴爻蹖 賮乇賵賱 乇丕 卮賳丕禺鬲賴 丕爻鬲 賵 賲蹖鈥屭佖� 丕蹖賳鈥屰屫ж辟� 賲賳鬲賯丿賴 賮乇賵賱 丕爻鬲. 讴賱賲賴鈥屬囏� 丕夭 禺賵丕亘蹖 亘蹖乇賵賳 賲蹖鈥屫①呚� 賵 亘賴 禺賵丕亘蹖 丿蹖诏乇 賵丕乇丿 賲蹖鈥屫簇�. 亘毓丿 讴爻蹖 亘丕 賴蹖噩丕賳蹖 鬲亘鈥屫ж� 亘賳丕蹖 賮乇蹖丕丿夭丿賳 诏匕丕卮鬲 賵 丿蹖诏乇丕賳蹖 鬲亘鈥屫ж� 賵 賴蹖噩丕賳鈥屫藏� 亘丕卮 賴賲鈥屫地� 卮丿賳丿. 賮乇賵賱 倬乇爻蹖丿 丕蹖賳 丕丿丕賵丕氐賵賱鈥屬囏й� 夭卮鬲 趩蹖 丕爻鬲責 噩賵丕亘 丿丕丿賲 賲卮鬲蹖 乇賳丿 丕賳丿貙 賳诏乇丕賳 賳亘丕卮 亘丕 诏賵乇爻鬲丕賳 賮丕氐賱賴鈥屰屰� 賳丿丕乇蹖賲. 賮乇賵賱 倬乇爻蹖丿 倬丕亘鈥屬勝� 趩蹖 卮丿責 诏賮鬲賲 丌賳鈥屫勝� 丕爻鬲 鬲賵 鬲丕亘賵鬲鈥屫ж�. 賮乇賵賱 诏賮鬲 禺蹖賱蹖 丕亘賱賴 丕蹖! 賴賳賵夭 丌賳鈥屬傌辟囏� 賴賲 讴賴 鬲賵 賮讴乇 賲蹖鈥屭┵嗃� 賲噩賳賵賳 賳卮丿賴鈥屫з�. 诏賮鬲賲 亘賴鈥屫� 賳诏蹖乇. 噩賵丕亘 丿丕丿 賳賲蹖鈥屭屫辟�. 趩賴鈥屫屬� 讴賴 丿蹖诏乇 鬲卮蹖蹖毓鈥屫嗀ж操団€屬囏� 賲孬賱 賽賯丿蹖賲 賳蹖爻鬲. 诏賮鬲賲 賵丕賯毓丕賸. 賮乇賵賱 诏賮鬲 賲卮丕蹖毓鬲 賽賲乇丿賴 丌丿丕亘 賽禺丕氐 禺賵丿卮 乇丕 賲蹖鈥屫焚勜ㄘ� 賲賳馗賵乇賲 蹖丕丿讴乇丿賳 丕夭 賲乇丿賴 賵 亘丕賯蹖 賽賲丕噩乇丕 丕爻鬲. 诏賮鬲賲 亘賴鈥屫池ㄚ� 賽賮乇丕賳爻賵蹖鈥屬囏�. 賮乇賵賱 诏賮鬲 丕诏乇 噩丕卮 亘賵丿 賳胤賯 賽睾乇丕蹖蹖 丿乇 亘夭乇诏鈥屫ж簇� 賽倬丕亘鈥屬勝� 賲蹖鈥屬嗁堌簇�. 亘毓丿 诏乇蹖賴鈥屫ж� 诏乇賮鬲. 亘丕 禺賵丿賲 诏賮鬲賲 賱丕亘丿 禺賵丕亘 賲蹖鈥屫ㄛ屬嗃屬�. 賵賯鬲蹖 亘丕夭賵亘賴鈥屫ㄘж操� 丕夭 诏賵乇爻鬲丕賳 亘蹖乇賵賳 賲蹖鈥屫①呚屬� 賲乇丿蹖 丿蹖丿賲 讴賴 亘賴 賯亘乇蹖 鬲讴蹖賴 丿丕丿賴 亘賵丿 賵 禺賵丕亘蹖丿賴 亘賵丿. 賱乇夭賴鈥屰屰� 亘賴 噩丕賳鈥屫з� 丕賮鬲丕丿
亘禺卮蹖 丕夭 讴鬲丕亘 卮亘丕賳賴鈥屰� 卮蹖賱蹖:
卮亘蹖 賮賴賲蹖丿賲 賳賴鈥屫辟堌� 賲乇丿賴 丕爻鬲. 亘賴 賮乇賵賱 夭賳诏 夭丿賲 賵 诏賮鬲賲 倬丕亘鈥屬勝� 賲乇丿. 賮乇賵賱 诏賮鬲 爻乇胤丕賳 讴卮鬲鈥屫ж簇� 爻乇胤丕賳. 诏賮鬲賲 亘賱賴 爻乇胤丕賳. 亘乇賵蹖賲 賲乇丕爻賲 禺鬲賲鈥屫ж簇� 賮乇賵賱 诏賮鬲 賲賳 讴賴 賲蹖鈥屫辟堎�. 诏賮鬲賲 賲賳 賴賲 亘丕鬲 賲蹖鈥屫③屬�. 诏賵卮蹖 乇丕 讴賴 诏匕丕卮鬲賲 丕賳诏丕乇 讴賱 賽诏賮鬲鈥屬堏� 乇丕 禺賵丕亘 丿蹖丿賴 亘賵丿賲. 乇賵夭 賽亘毓丿 亘賴 诏賵乇爻鬲丕賳 乇賮鬲蹖賲. 賮乇賵賱 禺蹖賱蹖 亘丕爻賱蹖賯賴 賵 卮蹖讴 賱亘丕爻 倬賵卮蹖丿賴 亘賵丿. 賲孬賱 賽丕乇賵丕丨 卮丿賴 亘賵丿 丕賲丕 卮蹖讴 亘賵丿. 鬲賵 诏賵卮鈥屫з� 夭賲夭賲賴 讴乇丿 賲賱讴鈥屫з� 乇丕 亘賴鈥屫з� 倬爻 賲蹖鈥屫囐嗀�. 噩賲毓蹖鬲 賽丕賳亘賵賴蹖 丌賲丿賴 亘賵丿賳丿 賵 乇丕賴鈥屫辟佖嗀� 賲乇丿賲 亘賴鈥屬呚з� 賲蹖鈥屬聚屬堌池嗀� 賵 亘蹖卮鈥屫� 賴賲 賲蹖鈥屫簇屬�. 賮乇賵賱 诏賮鬲 丕蹖賳 亘趩賴鈥屫堌粹€屭勨€屬囏� 乇丕 亘亘蹖賳! 诏賮鬲賲 禺賵丿鬲 乇丕 賲賴丕乇 讴賳. 亘賴 趩賴乇賴鈥屫ж� 賳诏丕賴 讴乇丿賲. 亘賴 趩賳丿睾乇蹖亘賴 趩卮賲讴 賲蹖鈥屫藏�. 噩賵丕賳 亘賵丿賳丿 賵 丕賳诏丕乇 丨丕賱 賽禺賵卮蹖 賳丿丕卮鬲賳丿 丕賲丕 賲賳 丕丨爻丕爻 賲蹖鈥屭┴必� 賴賲賴 丕夭 禺賵丕亘蹖 亘蹖乇賵賳 丕賮鬲丕丿賴鈥屫з嗀� 讴賴 丿乇 丌賳 丨丕賱 賽禺賵卮 賵 丨丕賱 賽亘丿 趩蹖夭蹖 睾蹖乇 賽鬲氐丕丿賮鈥屬囏й� 賲鬲丕賮蹖夭蹖讴蹖 賳亘賵丿. 賲蹖鈥屫促嗃屫� 倬卮鬲鈥屫池辟� 讴爻蹖 賮乇賵賱 乇丕 卮賳丕禺鬲賴 丕爻鬲 賵 賲蹖鈥屭佖� 丕蹖賳鈥屰屫ж辟� 賲賳鬲賯丿賴 賮乇賵賱 丕爻鬲. 讴賱賲賴鈥屬囏� 丕夭 禺賵丕亘蹖 亘蹖乇賵賳 賲蹖鈥屫①呚� 賵 亘賴 禺賵丕亘蹖 丿蹖诏乇 賵丕乇丿 賲蹖鈥屫簇�. 亘毓丿 讴爻蹖 亘丕 賴蹖噩丕賳蹖 鬲亘鈥屫ж� 亘賳丕蹖 賮乇蹖丕丿夭丿賳 诏匕丕卮鬲 賵 丿蹖诏乇丕賳蹖 鬲亘鈥屫ж� 賵 賴蹖噩丕賳鈥屫藏� 亘丕卮 賴賲鈥屫地� 卮丿賳丿. 賮乇賵賱 倬乇爻蹖丿 丕蹖賳 丕丿丕賵丕氐賵賱鈥屬囏й� 夭卮鬲 趩蹖 丕爻鬲責 噩賵丕亘 丿丕丿賲 賲卮鬲蹖 乇賳丿 丕賳丿貙 賳诏乇丕賳 賳亘丕卮 亘丕 诏賵乇爻鬲丕賳 賮丕氐賱賴鈥屰屰� 賳丿丕乇蹖賲. 賮乇賵賱 倬乇爻蹖丿 倬丕亘鈥屬勝� 趩蹖 卮丿責 诏賮鬲賲 丌賳鈥屫勝� 丕爻鬲 鬲賵 鬲丕亘賵鬲鈥屫ж�. 賮乇賵賱 诏賮鬲 禺蹖賱蹖 丕亘賱賴 丕蹖! 賴賳賵夭 丌賳鈥屬傌辟囏� 賴賲 讴賴 鬲賵 賮讴乇 賲蹖鈥屭┵嗃� 賲噩賳賵賳 賳卮丿賴鈥屫з�. 诏賮鬲賲 亘賴鈥屫� 賳诏蹖乇. 噩賵丕亘 丿丕丿 賳賲蹖鈥屭屫辟�. 趩賴鈥屫屬� 讴賴 丿蹖诏乇 鬲卮蹖蹖毓鈥屫嗀ж操団€屬囏� 賲孬賱 賽賯丿蹖賲 賳蹖爻鬲. 诏賮鬲賲 賵丕賯毓丕賸. 賮乇賵賱 诏賮鬲 賲卮丕蹖毓鬲 賽賲乇丿賴 丌丿丕亘 賽禺丕氐 禺賵丿卮 乇丕 賲蹖鈥屫焚勜ㄘ� 賲賳馗賵乇賲 蹖丕丿讴乇丿賳 丕夭 賲乇丿賴 賵 亘丕賯蹖 賽賲丕噩乇丕 丕爻鬲. 诏賮鬲賲 亘賴鈥屫池ㄚ� 賽賮乇丕賳爻賵蹖鈥屬囏�. 賮乇賵賱 诏賮鬲 丕诏乇 噩丕卮 亘賵丿 賳胤賯 賽睾乇丕蹖蹖 丿乇 亘夭乇诏鈥屫ж簇� 賽倬丕亘鈥屬勝� 賲蹖鈥屬嗁堌簇�. 亘毓丿 诏乇蹖賴鈥屫ж� 诏乇賮鬲. 亘丕 禺賵丿賲 诏賮鬲賲 賱丕亘丿 禺賵丕亘 賲蹖鈥屫ㄛ屬嗃屬�. 賵賯鬲蹖 亘丕夭賵亘賴鈥屫ㄘж操� 丕夭 诏賵乇爻鬲丕賳 亘蹖乇賵賳 賲蹖鈥屫①呚屬� 賲乇丿蹖 丿蹖丿賲 讴賴 亘賴 賯亘乇蹖 鬲讴蹖賴 丿丕丿賴 亘賵丿 賵 禺賵丕亘蹖丿賴 亘賵丿. 賱乇夭賴鈥屰屰� 亘賴 噩丕賳鈥屫з� 丕賮鬲丕丿
125 pages, Paperback
First published November 1, 2000
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About the author
Roberto 叠辞濒补帽辞
169听books6,414听followersFor most of his early adulthood, 叠辞濒补帽辞 was a vagabond, living at one time or another in Chile, Mexico, El Salvador, France and Spain. 叠辞濒补帽辞 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 叠辞濒补帽辞 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 叠辞濒补帽辞 "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, 叠辞濒补帽辞 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, 叠辞濒补帽辞 passed away. 叠辞濒补帽辞 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 叠辞濒补帽辞 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 叠辞濒补帽辞 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 叠辞濒补帽辞 "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, 叠辞濒补帽辞 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, 叠辞濒补帽辞 passed away. 叠辞濒补帽辞 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 叠辞濒补帽辞 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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September 11, 2024
Sordel, Sordello, which Sordello?
鈥�Literature is like phosphorus,鈥� wrote , 鈥�it shines with its maximum brilliance at the moment when it attempts to die.鈥� This view of literature existing at the precipice of the posthumous comes alive through Roberto 叠辞濒补帽辞'蝉 Father Sebastian Urrutia and his deathbed confessions that make up the long night of By Night in Chile. Told in a single continuous paragraph鈥攁 style that hints with the flavor of 鈥數潜舨姑贝� keeps the pressure and tension of his politically charged satire to a controlled maximum as if it were a horror novel while Urrutia takes us room by room through his haunted house of Chilean history. From his early days as a fledgling literary critic and poet spending time along with at the estate of Chile鈥檚 foremost critic, to travels in Europe and teaching Marxism in secret classes to the new regime, Urrutia attempts to rationalize his life and battles with his shame before the judgement of the shadowy 鈥榳izened youth鈥� that haunts him and his memories. Behind every curtain may wait a new horror, in every basement a sinister torture scene, yet these unspeakable terrors lurk just outside the candle-light of narrative, making them all the more sinister as we step along in the warm and surprisingly comical blaze. A perfect blend of all things 叠辞濒补帽辞, By Night in Chile is a dazzling display of narrative that culminates upon the association and juxtaposition of seemingly separate elements to plunge a sharp dagger deep into the heart of Chile鈥檚 political climate.
鈥�That is how literature is made in Chile.鈥�
By Night in Chile is the blessed union of 叠辞濒补帽辞鈥檚 prose and poetry. Each sentence coils and crawls smoothly and effortlessly like a satirical snake through gardens abloom in allegory and metaphor. The novel in a method similar to how a poem serves as a near-hallucinogenic impression of reality, residing in the Garden of comical and bizarre events that function like a translucent veil both masking and giving glimpses into the Fall and damnation lying just beyond our grasp. The episode of falcons being used to murder pigeons before they can cover the cathedrals in excrement is a masterpiece of situational comedy, but also a startling metaphor for the Pinochet regime hunting down and snuffing out any opposition to their own structure鹿 叠辞濒补帽辞 is an expert at embodying the essence of a place or person, often stacking details together that build towards an impression that takes the reader off-guard and instills a sense of bewilderment and wonder at the image being presented. Perhaps the most impressive aspect of Night, however, is the spirit of the short story鈥攁 form in which I find 叠辞濒补帽辞 to be at his best鈥攁nd the episodic nature of the novel. Like walking through a nightmare, Urrutia recounts his life through swirling episodic reflections that blend into one the way a fever-dream seamlessly morphs from one notion to the next by riding a wave of emotion and produce a work greater than the parts of the whole through the way the episodes communicate and comment upon one another.
鈥�My silences are immaculate.鈥�
While Urrutia, a member of a conservative priesthood Opus Dei which served fascist uprisings, has much to feel guilt over in his actions, it is his inactions that are most unbearable to him and the 鈥榳izened youth鈥�.
Similar to Urrutia is the young novelist Maria Canales虏 who wishes to be a integral part of the literary scene, hosting salons and mingling with all the poets and politicians. Like Urrutia who was able to turn a blind eye to the horrors around him, Canales ignored the political interrogations and tortures going on in her very own basement during her salons. 鈥�I would have been able to speak out but I didn't see anything,鈥� Maria tells him, 鈥�I didn't know until it was too late.鈥� Willfully neglecting reality, we will all wind up bemoaning our fates, dismissing our responsibility, and realizing it is too late for all of us. By remaining silent, we are essentially condoning the horrors.
By Night in Chile is sure to haunt any reader who dare cross the threshold. A perfect elixer of all 叠辞濒补帽辞'蝉 finest elements, this is a novel that dances and sways with the ethereal beauty of his poetry but punches with the raw intensity and eloquently abrasive power of his novels. History is making itself before our very eyes, and what are we doing to control the tides? Will we be a voice of reason, or simply march to the beat of whatever drum imposes itself. Will we get out alive, or will it be too late by the time we realize where we are. A frequent refrain echoing across the novel is critic Farewell鈥檚 line 鈥�Sordel, Sordello, which Sordello?鈥�, dredging up Dante鈥檚 Sordello who was cast into purgatory for being unable to confess his sins before death. By Night in Chile is Urrutia鈥檚 feverish, disjointed confession, one that brings about the flames of hellfire in an attempt to avoid them. 叠辞濒补帽辞'蝉 novel is full of pure rage and humor that never blinks or stands down.
4.5/5
And then the storm of shit begins.
鹿It is interesting to note the names of the two gentlemen that recruit Urrutia for this mission are Mr. Raef and Mr. Etah. A simple reversal of the letters reveals the truth hiding within their power.
虏 Maria Canales and her husband鈥檚 story finds inspiration in that of , which bears a near resemlance to the version found in this book.
I am highly indebted to a good friend for the full novel experience.
鈥�Literature is like phosphorus,鈥� wrote , 鈥�it shines with its maximum brilliance at the moment when it attempts to die.鈥� This view of literature existing at the precipice of the posthumous comes alive through Roberto 叠辞濒补帽辞'蝉 Father Sebastian Urrutia and his deathbed confessions that make up the long night of By Night in Chile. Told in a single continuous paragraph鈥攁 style that hints with the flavor of 鈥數潜舨姑贝� keeps the pressure and tension of his politically charged satire to a controlled maximum as if it were a horror novel while Urrutia takes us room by room through his haunted house of Chilean history. From his early days as a fledgling literary critic and poet spending time along with at the estate of Chile鈥檚 foremost critic, to travels in Europe and teaching Marxism in secret classes to the new regime, Urrutia attempts to rationalize his life and battles with his shame before the judgement of the shadowy 鈥榳izened youth鈥� that haunts him and his memories. Behind every curtain may wait a new horror, in every basement a sinister torture scene, yet these unspeakable terrors lurk just outside the candle-light of narrative, making them all the more sinister as we step along in the warm and surprisingly comical blaze. A perfect blend of all things 叠辞濒补帽辞, By Night in Chile is a dazzling display of narrative that culminates upon the association and juxtaposition of seemingly separate elements to plunge a sharp dagger deep into the heart of Chile鈥檚 political climate.
鈥�That is how literature is made in Chile.鈥�
By Night in Chile is the blessed union of 叠辞濒补帽辞鈥檚 prose and poetry. Each sentence coils and crawls smoothly and effortlessly like a satirical snake through gardens abloom in allegory and metaphor. The novel in a method similar to how a poem serves as a near-hallucinogenic impression of reality, residing in the Garden of comical and bizarre events that function like a translucent veil both masking and giving glimpses into the Fall and damnation lying just beyond our grasp. The episode of falcons being used to murder pigeons before they can cover the cathedrals in excrement is a masterpiece of situational comedy, but also a startling metaphor for the Pinochet regime hunting down and snuffing out any opposition to their own structure鹿 叠辞濒补帽辞 is an expert at embodying the essence of a place or person, often stacking details together that build towards an impression that takes the reader off-guard and instills a sense of bewilderment and wonder at the image being presented. Perhaps the most impressive aspect of Night, however, is the spirit of the short story鈥攁 form in which I find 叠辞濒补帽辞 to be at his best鈥攁nd the episodic nature of the novel. Like walking through a nightmare, Urrutia recounts his life through swirling episodic reflections that blend into one the way a fever-dream seamlessly morphs from one notion to the next by riding a wave of emotion and produce a work greater than the parts of the whole through the way the episodes communicate and comment upon one another.
鈥�My silences are immaculate.鈥�
While Urrutia, a member of a conservative priesthood Opus Dei which served fascist uprisings, has much to feel guilt over in his actions, it is his inactions that are most unbearable to him and the 鈥榳izened youth鈥�.
One has a moral obligation to take responsibilty for one鈥檚 actions, and that includes one鈥檚 words and silences, yes, one鈥檚 silences, because silences rise to heaven too, and God hears them, and only God understands and judges them, so one must be very careful with one鈥檚 silences. I am responsible in every way.The novel is much like jazz where the notes you 诲辞苍鈥檛 play are equally important to the ones that are played. Urrutia did his part, played his role and was never chastised for it. Even when he feared for his reputation after teaching the private lessons to Pinochet and his generals (a humorous sidenote is that the generals are far more concerned with the personal life of one attractive female theorist than her actual ideas), nobody seemed to care. However, it was his inability to stop it, to say no, to do anything to dam up the onslaught of history even for a moment that will serve as his everlasting personal tombstone.
Similar to Urrutia is the young novelist Maria Canales虏 who wishes to be a integral part of the literary scene, hosting salons and mingling with all the poets and politicians. Like Urrutia who was able to turn a blind eye to the horrors around him, Canales ignored the political interrogations and tortures going on in her very own basement during her salons. 鈥�I would have been able to speak out but I didn't see anything,鈥� Maria tells him, 鈥�I didn't know until it was too late.鈥� Willfully neglecting reality, we will all wind up bemoaning our fates, dismissing our responsibility, and realizing it is too late for all of us. By remaining silent, we are essentially condoning the horrors.
By Night in Chile is sure to haunt any reader who dare cross the threshold. A perfect elixer of all 叠辞濒补帽辞'蝉 finest elements, this is a novel that dances and sways with the ethereal beauty of his poetry but punches with the raw intensity and eloquently abrasive power of his novels. History is making itself before our very eyes, and what are we doing to control the tides? Will we be a voice of reason, or simply march to the beat of whatever drum imposes itself. Will we get out alive, or will it be too late by the time we realize where we are. A frequent refrain echoing across the novel is critic Farewell鈥檚 line 鈥�Sordel, Sordello, which Sordello?鈥�, dredging up Dante鈥檚 Sordello who was cast into purgatory for being unable to confess his sins before death. By Night in Chile is Urrutia鈥檚 feverish, disjointed confession, one that brings about the flames of hellfire in an attempt to avoid them. 叠辞濒补帽辞'蝉 novel is full of pure rage and humor that never blinks or stands down.
4.5/5
And then the storm of shit begins.
鹿It is interesting to note the names of the two gentlemen that recruit Urrutia for this mission are Mr. Raef and Mr. Etah. A simple reversal of the letters reveals the truth hiding within their power.
虏 Maria Canales and her husband鈥檚 story finds inspiration in that of , which bears a near resemlance to the version found in this book.
I am highly indebted to a good friend for the full novel experience.
June 28, 2021
鈥淟o importante era la vida, no la literatura.鈥�Ten铆a una conocida que sufr铆a de la jodida man铆a de argumentar sobre muchas cosas empezando con un "nosotros, los lectores...", incluy茅ndonos a ambos en esa clase especial y, naturalmente, varios grados superior, no s茅 bien en qu茅 sentido, a la que conforma la clase de los no lectores. Era claramente una esnob de la lectura.
Yo tambi茅n lo soy, aunque de otro tipo, de ese que se siente molesto cuando cierta gente da por sentado que somos del mismo tipo de lector, aunque, como le ocurriera a mi conocida, tenga unos gustos, no los llamar茅 literarios, m谩s que cuestionables. Por el contrario, de su esnobismo estoy vacunado. No creo que la Literatura confiera ning煤n estatus especial a nadie, y mucho menos que mejore a las personas, m谩s all谩 de los beneficios individuales que procura cualquier placer. No son los lectores ni los escritores, estos son con mucha frecuencia justo lo contrario, mejores personas que el resto de los mortales.
鈥溾€� para qu茅 sirven los libros, son s贸lo sombras"A alguno les parecer谩 raro todo esto que digo, y m谩s por decirlo en un sitio como este y m谩s por lo mucho que en 茅l participo, y, en fin, pensar谩n que a cuento de qu茅 esta diatriba contra la Literatura y sus c贸mplices. La raz贸n es que mucho de esto que aqu铆 digo tiene que ver con la novela de 叠辞濒补帽辞, m谩s all谩 del evidente tema de la culpa y el horror de una dictadura.
鈥溾€� y despu茅s vino el golpe de Estado, el levantamiento, el pronunciamiento militar, y bombardearon La Moneda y cuando termin贸 el bombardeo el presidente se suicid贸 y acab贸 todo. Entonces yo me qued茅 quieto, con un dedo en la p谩gina que estaba leyendo, y pens茅: qu茅 paz. Me levant茅 y me asom茅 a la ventana: qu茅 silencio.鈥�叠辞濒补帽辞 nos trae aqu铆 la confesi贸n en sus 煤ltimos momentos de un poeta mediocre, cr铆tico literario y lector de buen juicio y sensibilidad, el sacerdote chileno Sebasti谩n Urrutia Lacroix, representante de la intelectualidad chilena que colabor贸 con la dictadura o, al menos, guard贸 un silencio c贸mplice, algo que le persigue en sus momentos finales en forma de un joven envejecido.
鈥淓n aquellos a帽os de acero y silencio, al contrario, muchos alabaron mi obstinaci贸n en seguir publicando rese帽as y cr铆ticas. 隆Muchos alabaron mi poes铆a! 鈥� todos 茅ramos razonables 鈥� todos 茅ramos chilenos, todos 茅ramos gente corriente, discreta, l贸gica, moderada, prudente, sensata, todos sab铆amos que hab铆a que hacer algo, que hab铆a cosas que eran necesarias, una 茅poca de sacrificios y otra de sana reflexi贸n.鈥�叠辞濒补帽辞 delibera en torno al oficio de escritor, su para qu茅 m谩s all谩 de la necesidad personal de escribir y de sobrevivir si no se sabe/puede hacer otra cosa; sobre la profesi贸n, muchas veces encerrada en una burbuja egoc茅ntrica en la que 鈥渆l populacho鈥� y sus circunstancias son indiferentes cuando no directamente despreciados; sobre el mismo hecho de leer como una actividad que se agota en s铆 misma. Todo enmarcado y resaltado por el horror de la dictadura chilena.
鈥淒espu茅s vinieron las elecciones y gan贸 Allende鈥� Que sea lo que Dios quiera, me dije. Yo voy a releer a los griegos. Empec茅 con Homero, como manda la tradici贸n, y segu铆 con Tales de Mileto y Jen贸fanes de Colof贸n鈥� y mataron al ex ministro de la Democracia Cristiana P茅rez Zujovic y Lafourcade public贸 Palomita blanca y yo le hice una buena cr铆tica, casi una glosa triunfal, aunque en el fondo sab铆a que era una novelita que no val铆a nada, y se organiz贸 la primera marcha de las cacerolas en contra de Allende y yo le铆 a Esquilo y a S贸focles y a Eur铆pides鈥︹€�Hay varios momentos especialmente terribles en la novela. Uno es la visita que Salvador Reyes, escritor y agregado cultural en la embajada chilena en Par铆s, y Ernst J眉nger, miembro del ej茅rcito nazi, 鈥攄os intelectuales, uno testigo pasivo de la ocupaci贸n y el otro soldado perteneciente a las fuerzas de ocupaci贸n鈥� hacen a un pintor guatemalteco que literalmente se est谩 muriendo de debilidad en su pobre habitaci贸n parisina mientras sus visitantes hablan amigablemente de arte y literatura.
鈥淛眉nger dijo que no cre铆a que el guatemalteco llegara vivo hasta el invierno siguiente, algo que sonaba raro proviniendo de sus labios, pues a nadie se le escapaba entonces que muchos miles de personas no iban a llegar vivas al invierno siguiente, la mayor铆a de ellas mucho m谩s sanas que el guatemalteco, la mayor铆a m谩s alegres, la mayor铆a con una disposici贸n para la vida notablemente superior a la del guatemalteco, pero J眉nger igual lo dijo, tal vez sin pensar, o manteniendo cada cosa en su estricto lugar.鈥�Otro es el viaje que el padre Urrutia, seleccionado por sus superiores Odeim y Oido (l茅anlos al rev茅s), hace por Europa con el fin de estudiar posibles soluciones al deterioro que las palomas provocan en los edificios religiosos.
Y, por 煤ltimo, el m谩s impactante, aquel con el que se cierra la novela y que tambi茅n me cuidar茅 mucho de contar aqu铆, se produce en la casa de Mar铆a Canales, una escritora anodina, casada con el empresario estadounidense Jimmy Thomson y organizadora de veladas literarias sorprendentemente permitidas por el r茅gimen a pesar del toque de queda.
鈥淰inieron 茅pocas duras y 茅pocas confusas, pero sobre todo vinieron 茅pocas terribles, en las que se aunaba lo duro y lo confuso con lo cruel. Los escritores siguieron llamando a sus musas. Muri贸 el Emperador. Vino una guerra y muri贸 el Imperio. Los m煤sicos siguieron componiendo y la gente acudiendo a los conciertos.鈥�Una peque帽a gran novela.
March 23, 2018
Bolano gives us the stream of consciousness of a Jesuit priest reflecting on his life while he lies on his death bed in Chile. The priest was also a poet and a literary critic. Throughout his life he hung out with art-loving wealthy aristocrats. The priest even met the famous Chilean poet Neruda at a soiree and later attended his funeral. The aristocrat had his estate confiscated under Allende but then returned under Pinochet 鈥� and the priest is glad for him.
The priest also hangs out with a beautiful Chilean woman who runs a literary salon. We learn later that her American husband is a CIA type who tortures leftist prisoners in his basement. (Although the priest did not know it at the time.) The priest is hired to teach the right-wing junta generals about Marxism.
Clearly the theme is that artistic intellectuals cannot hide their heads in the sand during times of social turmoil. And priests like this one need to switch sides. The priest shies away from those who truly need him --- peasant folks with folkloric beliefs who even want to physically touch him. Instead the priest runs back to the wine and the literary discussions. He also spent a good deal of time in Europe learning about techniques to preserve church buildings from damage from pigeons.
The author knew first-hand of the era and the social turmoil he was writing about. Bolano was born in Chile, but left to live in Mexico. He returned to Chile in a flush of socialist enthusiasm when Allende was elected. He was in Chile only one month before a military junta took power back and installed Pinochet, a right-wing dictator. Bolano was imprisoned and when released, went back to Mexico, then Paris, and finally Barcelona where he died in 2003 at age 50.
A couple of passages that I liked:
We will serve a good Chilean supper 鈥溾€o [a foreign guest] could see for himself how well we live in Chile, in case he thought that over here we were still walking around wearing feathers鈥︹€�
The priest receives a letter 鈥溾€ ridiculous letter but somehow it seemed to conceal another, invisible letter, more serious in content, and this hidden letter, although I couldn鈥檛 tell what it said or even be sure it existed, worried me deeply.鈥�
It鈥檚 a short book 鈥� 130 pages -- but seems longer at times because it is written as a single paragraph. In the literary discussions we also learn a bit about Bolano鈥檚 opinions of Chilean poets and writers and how they stand up to those of Spain. I liked it but it鈥檚 not my favorite Bolano 鈥� I still prefer Savage Detectives or The Skating Rink.
Top photo: Salvador Allende from the-untermatron.wikia.com
Middle: Augusto Pinochet from bdnews24.com
Bottom: Roberto Bolano from ndnotebook.com
The priest also hangs out with a beautiful Chilean woman who runs a literary salon. We learn later that her American husband is a CIA type who tortures leftist prisoners in his basement. (Although the priest did not know it at the time.) The priest is hired to teach the right-wing junta generals about Marxism.
Clearly the theme is that artistic intellectuals cannot hide their heads in the sand during times of social turmoil. And priests like this one need to switch sides. The priest shies away from those who truly need him --- peasant folks with folkloric beliefs who even want to physically touch him. Instead the priest runs back to the wine and the literary discussions. He also spent a good deal of time in Europe learning about techniques to preserve church buildings from damage from pigeons.
The author knew first-hand of the era and the social turmoil he was writing about. Bolano was born in Chile, but left to live in Mexico. He returned to Chile in a flush of socialist enthusiasm when Allende was elected. He was in Chile only one month before a military junta took power back and installed Pinochet, a right-wing dictator. Bolano was imprisoned and when released, went back to Mexico, then Paris, and finally Barcelona where he died in 2003 at age 50.
A couple of passages that I liked:
We will serve a good Chilean supper 鈥溾€o [a foreign guest] could see for himself how well we live in Chile, in case he thought that over here we were still walking around wearing feathers鈥︹€�
The priest receives a letter 鈥溾€ ridiculous letter but somehow it seemed to conceal another, invisible letter, more serious in content, and this hidden letter, although I couldn鈥檛 tell what it said or even be sure it existed, worried me deeply.鈥�
It鈥檚 a short book 鈥� 130 pages -- but seems longer at times because it is written as a single paragraph. In the literary discussions we also learn a bit about Bolano鈥檚 opinions of Chilean poets and writers and how they stand up to those of Spain. I liked it but it鈥檚 not my favorite Bolano 鈥� I still prefer Savage Detectives or The Skating Rink.
Top photo: Salvador Allende from the-untermatron.wikia.com
Middle: Augusto Pinochet from bdnews24.com
Bottom: Roberto Bolano from ndnotebook.com
![Profile Image for 漏hrissie 鉂� [1st week on campus-somewhat run-down].](/_next/image?url=https%3A%2F%2Fi.gr-assets.com%2Fimages%2FS%2Fcompressed.photo.goodreads.com%2Fusers%2F1610034740i%2F49071166._UX200_CR0%2C20%2C200%2C200_.jpg&w=128&q=75)
August 19, 2022
You might ask: what could possibly be more mind-blowingly life-changing than stumbling upon a barrelful of gold? (The Limitless Library you could endeavour, perhaps in vain, to assemble with it!) I have only one answer to that question of questions. It is: stumbling upon Your Author.
I first read 叠辞濒补帽辞 in 2014. Today, at the dawn of 2022, I am in no 'shadow' of doubt - shadows being a constant feature in this book - that 叠辞濒补帽辞 is My Author, and The Author of our time.
On the scale of brilliance, this shorter text is no different from its counterparts. Rather, more impressive for it. Palpable is its intelligent inventiveness and insightfulness - on every page, in every amassed sentence.
I confess: I went into it prepared to find that it was no match for his other literary feats. Thinking: 'well, James Wood would define this as his "greatest work", would he not?' That makes sense. But, me, heading into it with a Woolfian spirit - "there is no gate, no lock, no bolt that you can set upon the freedom of my mind" - mostly wondered about how听exactly 叠辞濒补帽辞 would pull off or get away with amalgamating his idiosyncrasies with the Bernhardian rant, or, rather, when seeming to navigate through that form?
But, of course, 叠辞濒补帽辞 is to be found in every sentence. And this, here, is a Literary Monument like no other. Funny that I should say that, too: because the most glorified, canonical writers of all time - Dante, Shakespeare - are placed alongside many a poet (Neruda features prominently), the Greeks, (Plato in particular), and the greatest minds of the past century (Freud and Marx). There is much to unpack. A labyrinth of allusions, at the very least. Because underlying the compact prose, teeming with stories, is a constant tremor, exploding haphazardly from time to time. It is the story of human vitality, desperation, and hubris. Defeatedness. The essential finitude of everything and all. A tribute to the sentiment of all that is lost in time, and lost to "time's giant meat grinder". With Shakespeare, we could say:
"And Time that gave doth now his gift confound
[...]
And nothing stands but for his scythe to mow".
(Shakespeare)
The 'night' is the Dantesque "selva oscura", but it is also the 'night' of contemporary life and history and culture. The night during which, Father Urrutia Lacroix, lays bare the double standards that make up his life on earth. 'Doubled over'. Doubled, I mean, not only in deed, but in thought, and name, too. For he is also Ibacache, the literary critic, hailed from the desire to have, in turn, the liberty to effusively comment on his own poetic endeavours. Not to mention, also, the ubiquitous "wizened youth" devoted - throughout the novel - to torturing him with his transparent presence, until, he disappears?
"The wizened youth has always been alone, and I have always been on history鈥檚 side."
What does it mean to be on history's side? What are the stakes? The implied compromise(s). "Is there a solution?" Where does this leave history, and literature? Crawling curiously in the mud, perhaps.
That, however, is hardly scratching the surface. As 叠辞濒补帽辞 keeps harping on the nuances of lived moments and perception (the Van Gogh blue streets that too readily reveal the lingering yellow beneath), he too crafts a complex understanding of the incongruences underpinning 'civilisation'. This is an immeasurably political text, irreverent and provocative, but serious and passionately invested in fixing its gaze on the fate of the world.
When recruited by a pair of import-export entrepreneurs to go on a mission, our Lacroix jumps at the opportunity: he tours Europe and its churches, observant and absolutely non-judgemental about the curious means by which the fundamental issue of the churches' degradation is being addressed. A teaser, and honorary mention here: Othello the falcon!
What kind of practices, exactly, does Father Lacroix endorse? What, on his self-fabricated deathbed - for we know, the illness he laments, is a phantom sickness - troubles him, if indeed it does?
叠辞濒补帽辞'蝉 fervently political vision comes to the forefront when Lacroix is entrusted with an operation that requires absolute discretion: teaching Marxism to the Chilean Junta...(Imagine that!, my friends). He brutally exposes the horrors of history, but grants no simplistic conclusions. Distance from oneself and from all things, yet eye-glittering awe and complicity, too. A cry, echoed in uncontrollable laughter.
This writer certainly expects much from his reader. Including being well informed about political dynamics in Chile. And yet, I hardly think it possible not to be swept away by his poetry. The poetry of the marvellously immortalised moment. His prose penetrates the world and presents it to you anew, like you have never seen it before. It is a knowing world, and yet not immune to its unceasing and rapturous vibrations. To the beauty of the landscape that oversees human devastation, the sense of the ridiculous in human nature.
***
I cannot recommend this book enough! It is magnificently mesmerising!
"Literature is literature."
Thank you, 叠辞濒补帽辞, for being my first glorious read of the year, and for finding me when in the throes of despondency!
I also wish to thank my excellent 欧宝娱乐 friend S.penkevich for referring me to this book while we were discussing Bernhard. He too is an avid reader of 叠辞濒补帽辞!
5 solid stars.
I first read 叠辞濒补帽辞 in 2014. Today, at the dawn of 2022, I am in no 'shadow' of doubt - shadows being a constant feature in this book - that 叠辞濒补帽辞 is My Author, and The Author of our time.
On the scale of brilliance, this shorter text is no different from its counterparts. Rather, more impressive for it. Palpable is its intelligent inventiveness and insightfulness - on every page, in every amassed sentence.
I confess: I went into it prepared to find that it was no match for his other literary feats. Thinking: 'well, James Wood would define this as his "greatest work", would he not?' That makes sense. But, me, heading into it with a Woolfian spirit - "there is no gate, no lock, no bolt that you can set upon the freedom of my mind" - mostly wondered about how听exactly 叠辞濒补帽辞 would pull off or get away with amalgamating his idiosyncrasies with the Bernhardian rant, or, rather, when seeming to navigate through that form?
But, of course, 叠辞濒补帽辞 is to be found in every sentence. And this, here, is a Literary Monument like no other. Funny that I should say that, too: because the most glorified, canonical writers of all time - Dante, Shakespeare - are placed alongside many a poet (Neruda features prominently), the Greeks, (Plato in particular), and the greatest minds of the past century (Freud and Marx). There is much to unpack. A labyrinth of allusions, at the very least. Because underlying the compact prose, teeming with stories, is a constant tremor, exploding haphazardly from time to time. It is the story of human vitality, desperation, and hubris. Defeatedness. The essential finitude of everything and all. A tribute to the sentiment of all that is lost in time, and lost to "time's giant meat grinder". With Shakespeare, we could say:
"And Time that gave doth now his gift confound
[...]
And nothing stands but for his scythe to mow".
(Shakespeare)
The 'night' is the Dantesque "selva oscura", but it is also the 'night' of contemporary life and history and culture. The night during which, Father Urrutia Lacroix, lays bare the double standards that make up his life on earth. 'Doubled over'. Doubled, I mean, not only in deed, but in thought, and name, too. For he is also Ibacache, the literary critic, hailed from the desire to have, in turn, the liberty to effusively comment on his own poetic endeavours. Not to mention, also, the ubiquitous "wizened youth" devoted - throughout the novel - to torturing him with his transparent presence, until, he disappears?
"The wizened youth has always been alone, and I have always been on history鈥檚 side."
What does it mean to be on history's side? What are the stakes? The implied compromise(s). "Is there a solution?" Where does this leave history, and literature? Crawling curiously in the mud, perhaps.
That, however, is hardly scratching the surface. As 叠辞濒补帽辞 keeps harping on the nuances of lived moments and perception (the Van Gogh blue streets that too readily reveal the lingering yellow beneath), he too crafts a complex understanding of the incongruences underpinning 'civilisation'. This is an immeasurably political text, irreverent and provocative, but serious and passionately invested in fixing its gaze on the fate of the world.
When recruited by a pair of import-export entrepreneurs to go on a mission, our Lacroix jumps at the opportunity: he tours Europe and its churches, observant and absolutely non-judgemental about the curious means by which the fundamental issue of the churches' degradation is being addressed. A teaser, and honorary mention here: Othello the falcon!
What kind of practices, exactly, does Father Lacroix endorse? What, on his self-fabricated deathbed - for we know, the illness he laments, is a phantom sickness - troubles him, if indeed it does?
叠辞濒补帽辞'蝉 fervently political vision comes to the forefront when Lacroix is entrusted with an operation that requires absolute discretion: teaching Marxism to the Chilean Junta...(Imagine that!, my friends). He brutally exposes the horrors of history, but grants no simplistic conclusions. Distance from oneself and from all things, yet eye-glittering awe and complicity, too. A cry, echoed in uncontrollable laughter.
This writer certainly expects much from his reader. Including being well informed about political dynamics in Chile. And yet, I hardly think it possible not to be swept away by his poetry. The poetry of the marvellously immortalised moment. His prose penetrates the world and presents it to you anew, like you have never seen it before. It is a knowing world, and yet not immune to its unceasing and rapturous vibrations. To the beauty of the landscape that oversees human devastation, the sense of the ridiculous in human nature.
***
I cannot recommend this book enough! It is magnificently mesmerising!
"Literature is literature."
Thank you, 叠辞濒补帽辞, for being my first glorious read of the year, and for finding me when in the throes of despondency!
I also wish to thank my excellent 欧宝娱乐 friend S.penkevich for referring me to this book while we were discussing Bernhard. He too is an avid reader of 叠辞濒补帽辞!
5 solid stars.
May 24, 2021
edited on 21.02.2020
I am dying now, but I still have many things to say. I used to be at peace with myself. Quiet and at peace. But it all blew up unexpectedly. That wizened youth is to blame. I was at peace. I am no longer at peace. There are a couple of points that have to be cleared up. So, propped up on one elbow, I will lift my noble, trembling head and rummage through my memories to turn up the deeds that shall vindicate me and belie the slanderous rumors the wizened youth spread in a single-lit night to sully my name.
I read a lot about Bolano but never really attempted any books by him, about his prose, his ability to conjure up magic out of ordinary which led to a sort of build up before taking it up. When chance and intent met, I finally decided to read him, I found myself pleasantly surprised, for he was better than what I thought in all aspects. By Night in Chile is a staunch critic of Church and State in Chile wherein Roberto 叠辞濒补帽辞 produces a brilliant analysis of Chilean literature amidst the turbulent socio-political scenario of the country. Satire is one of the trickiest genres to write, for you have to convey your message clearly yet, for the highest form, you have to maintain anonymity and keep it engaging. We have masters there such as Orwell for that. But could it poetic too? Sounds strange, but that is what this little gem is. A savage commentary on Chilean history profuse with tapestry of poetic beauty which plunge in allegory, metaphors. The novel could be said to a long prose poem.
The book may look short in length but certainly not in its scope and impact, it satirizes the elites and religious institutions, which in charge during the fascist regime in the country, over their apparent failure to fight it. 叠辞濒补帽辞, being a poet and writer himself, was highly critical of Pablo Neruda who makes the visit in this novel but not in a commendable light. Having said that, 叠辞濒补帽辞鈥檚 satire mainly targetted the poet-critic-priest Urrutia, who did not act upon anything despite being a representative of church and elites
Occasionally I had nightmares, but in those days just about everyday had nightmares from time to time, though some more often than others.
Urrutia believes he is dying and in his feverish delirium various characters, both real and imaginary, appear to him as icy monsters, as if in sequence from a horror film. He leaves the poor farmhands on Farewell's area who search for the guide and comfort of a priest. Be that as it may, he notwithstanding everything wears his blessed cassock when he feels it might benefit or verify him, as while teaching Marxism to the junta of authorities who lead Chile's police state. Urrutia is more aggressive than devout. He tries to turn into an extraordinary artistic pundit like his golden calf Farewell. His craving to be acknowledged into Farewell's highbrow scholarly circle drives Urrutia to sell out in both body and soul. Later in the novel, 叠辞濒补帽辞 condemns Urrutia and Farewell, as well as other members of their elite circle, for failing to use their voices to criticize the Pinochet regime.
One afternoon, as I was signing away to myself, I had a glimpse of what it meant: Chile itself, the whole country, had become the Judas Tree, a lifeless, dead-looking tree, but still deeply rooted in the black earth, our rich black earth with its famous 40-centimetre worms.
叠辞濒补帽辞 (who had spent his high school a very long time in Mexico City) came back to his local Chile to help Marxist-Socialist President Salvador Allende, who had started radical changes that would redistribute land possessed by the Church and the well off to poor ranchers. Be that as it may, a month after 叠辞濒补帽辞 showed up, Allende was dead. General Augusto Pinochet had assumed control over the legislature in a grisly overthrow sorted out by the CIA. Normally, many Church pioneers and elites upheld Pinochet, who had forestalled Allende from taking their property. In any case, the military system caused a ridiculous bad dream for Chile, as somewhere in the range of 30,000 individuals accepted to be supporters of Allende were detained and tormented by Pinochet's operators. In excess of 3,000 residents were slaughtered or vanished, their bodies dumped into mass graves. Several individuals fled into oust. Presently the Church and the elites had blood on their hands. This frightful truth is the focal point of By Night in Chile, as the artist cleric Urrutia faces his snapshot of reckoning.
Sometimes at night, I would sit on a chair in the dark and ask myself what difference there was between fascist and rebel. Just a pair of words. Two words, that鈥檚 all. And sometimes either one will do!
The writing style is remarkably accessible despite itself and the story of his life intact as it is woven into Chile's political history despite progressively more delirious and compromised powers of recollection. The prose is condensed into a long poetic narrative which has taken birth among allegory and metaphors. The continuous paragraphs without line-breaks reminds me of Thomas Bernhard and Samuel Beckett, which adds to the effect of satirical impact of the narrative. The prose style also gives you feel that book is actually long than 125 odd pages. The book is not like a typical novel, it鈥檚 more like a recount of nightmarish churning through sharp but seamless transitions which throws entirely unique pictures of Chilean elites amidst socio-political situation of the country. It may be categorized under some intertextual literary commentary in which the author expresses himself through nom de plume of the narrator.
My country was not in healthy state. There is no time to dream, I said to myself, I must act on my principles. This is no time to go chasing rainbows, I said, I must be patriot. In Chile things were not going well. For me things had been going well, but not for my country. I am a fanatical nationalist, but I do sincerely love the land of my birth. Chile, my Chile. What on earth has come over you?
We often become conniver in the things, which we may not support, however, our non-action or complacency plays into the hands of those who in power, the book analyses our complacency and how do we try to reason with it to make peace with ourselves and hence, no one rises the voice. However, Bolano has other ideas, the book quite masterfully explores and addresses this very question. 叠辞濒补帽辞 uses this to illustrate the supine nature of the Chilean literary establishment under the dictatorship. It鈥檚 a wonderful and beautifully written book by a writer who has enviable control over every beat, every change of tempo, every image. The prose is constantly exciting and challenging - at times lyrical and allusive, at others filled with a biting wit.
One has a moral obligation to take responsibility for one鈥檚 actions, and that includes one鈥檚 words and silences, yes, one鈥檚 silences, because silences rise to heaven too, and God hears them, and only God understands and judges them, so one must be very careful with one鈥檚 silences.
April 20, 2024
What a powerful and complex work. It is the narrator's (who is a Catholic priest, a poet and a literary critic) ironic deathbed monologue, his life story. The story of a person who is not vile by nature but who is tormented by inner conflicts and is used to making personal compromises. Like other Chilean intellectuals around him in 1970s and 1980s. People's personal stories, their behaviour, their moral choices reflect the political reality in Chile during Pinochet's dictatorship. The writers, poets, actors who have not left the country prefer not to notice the hell around them and go on with their life and work. 'By Night in Chile' is a story of conformism and escapism (including reading the works by ancient Greek authors) which are the survival skills resorted to by the terrified intellectuals who pretend they live a normal life under the military authoritarian dictatorship. The author and and the narrator ask if the price of the conpromise is not too high.
'As time goes by, as time goes by, the whip-crack of the years, the precipice of illusions, the ravine that swallows up all human endeavour except the struggle to survive.'
------------------------------------------------------------------------------
'Sometimes I come across farmers speaking another language. I stop them. I ask how things are on the land. But they tell me they 诲辞苍鈥檛 work on the land. They tell me they work in factories or building sites in the city, they have never worked on the land.
Is there a solution? Sometimes the earth shakes. The epicenter of the quake is somewhere in the north or the south, but I can hear the earth shaking. Sometimes I feel dizzy. Sometimes the quake goes on for longer than usual, and people take shelter in doorways or under stairs or they rush out into the street. Is there a solution? I see people running in the streets. I see people going into the Metro or into movie theaters. I see people buying newspapers. And sometimes it all shakes and everything stops for a moment. And then I ask myself: Where is the wizened youth? Why has he gone away?
And little by little the truth begins to rise like a dead body. A dead body rising from the bottom of the sea or from the bottom of a gully. I can see its shadow rising. Its flickering shadow. Its shadow rising as if it were climbing a hill on a fossil planet. And then, in the half-light of my sickness, I see his fierce, his gentle face, and I ask myself: Am I that wizened youth? Is that the true, the supreme terror, to discover that I am the wizened youth whose cries no one can hear? And that the poor wizened youth is me? And then faces flash before my eyes at a vertiginous speed, the faces I admired, those I loved, hated, envied and despised. The faces I protected, those I attacked, the faces I hardened myself against and those I sought in vain.
And then the storm of shit begins.'
'As time goes by, as time goes by, the whip-crack of the years, the precipice of illusions, the ravine that swallows up all human endeavour except the struggle to survive.'
------------------------------------------------------------------------------
'Sometimes I come across farmers speaking another language. I stop them. I ask how things are on the land. But they tell me they 诲辞苍鈥檛 work on the land. They tell me they work in factories or building sites in the city, they have never worked on the land.
Is there a solution? Sometimes the earth shakes. The epicenter of the quake is somewhere in the north or the south, but I can hear the earth shaking. Sometimes I feel dizzy. Sometimes the quake goes on for longer than usual, and people take shelter in doorways or under stairs or they rush out into the street. Is there a solution? I see people running in the streets. I see people going into the Metro or into movie theaters. I see people buying newspapers. And sometimes it all shakes and everything stops for a moment. And then I ask myself: Where is the wizened youth? Why has he gone away?
And little by little the truth begins to rise like a dead body. A dead body rising from the bottom of the sea or from the bottom of a gully. I can see its shadow rising. Its flickering shadow. Its shadow rising as if it were climbing a hill on a fossil planet. And then, in the half-light of my sickness, I see his fierce, his gentle face, and I ask myself: Am I that wizened youth? Is that the true, the supreme terror, to discover that I am the wizened youth whose cries no one can hear? And that the poor wizened youth is me? And then faces flash before my eyes at a vertiginous speed, the faces I admired, those I loved, hated, envied and despised. The faces I protected, those I attacked, the faces I hardened myself against and those I sought in vain.
And then the storm of shit begins.'
January 30, 2025
And then the storm of shit begins.
~~
Random thought ~~ it appears that 叠辞濒补帽辞 himself is speaking to us in the very first line, I am dying now, but I still have many things to say.
is an unusual novel in 叠辞濒补帽辞鈥檚. universe. In its merely two paragraphs ~~ the second and last is comprise of only 7 words ~~ we sit with a dying man, one single night ~~ somewhere in Chile ~~ listening to his life鈥檚 story ~~ of which he claims to still have many things to say. That man is Father Sebastian Urrutia ~~ renowned literary critic, failed poet and, as we soon come to find out, a coward. However, 叠辞濒补帽辞鈥檚 novella is not only the story of one cowardly individual, but more generally a satire on a whole generation of Chilean intellectuals who chose to put their heads down when their country was suffering through the atrocities of the Pinochet regime.
is 叠辞濒补帽辞'蝉 clearest vision of the savage politics of the last century, particularly of Latin America. 叠辞濒补帽辞 has a way of presenting the politics in an almost farcical way ~~ for a while ~~ until taking a turn to the horrific climax.
This monologue of the dying right-wing priest/poet/critic is not only an indictment out of his own mouth of a clerical fascist but is also a examination of literature鈥檚 essential complicity with authority and terror.
叠辞濒补帽辞 can create the most uncanny effects ~~ the shadows of the hurrying citizens on a caf茅 wall, the narrator鈥檚 various visions of a wizened youth, the priest鈥檚 whole long account of church falconry in Europe, the climactic story of the literary evenings where everything feels slightly wrong ~~ and we soon find out why.
There are four main stories Father Sebasti谩n Urrutia Lacroix remembers on his deathbed: the first encounter with his mentor, Farewell, who will test both his literary and sexual talents, the trip to Europe with the mission entrusted to him by his superiors to try and save European churches menaced with decay by pigeon shit, the nine Marxist lessons given to Pinochet and his generals and the literary meetings in Mar铆a Canales鈥檚 house, house that was secretly used by the secret police for imprisonment and torture. These four stories, subtly interconnected, offer not only a dramatic image of Chilean literature under the dictatorship but also a dramatic image of the intellectual鈥檚 behavior under the terror.
Sebastian is haunted throughout his telling by a wizened youth who seems determined to undermine his narration. This youth can be seen as a figment of Sebastian鈥檚 fevered imagination, a real person with secret knowledge of Sebastian鈥檚 affairs, or, an embodiment of Sebastian鈥檚 own repressed moral conscience. The reader is led to believe that Sebastian had no choice in how his life unfolded, and that he was simply a victim of circumstance. This calls his reliability into question.
In Sebastian鈥檚 telling of events, he told his companion, Farewell, about these lessons after an attack of conscience ~~ even though he was explicitly forbidden to speak of them. In this, his narrative betrays itself I shrugged my shoulders, as people do in novels, but never in real life, and later I shrugged my shoulders again. It is possible that while Sebastian felt an attack of conscience, he never actually acted upon it. The discussion with Farewell may be a fiction, as is suggested by these shrugs that only happen in novels.
In addition to the perpetual presence of the wizened youth and the self-betraying narration, Sebastian鈥檚 story struggles through his various fadings of memory ~~ some of which appear extremely convenient. Early in the novel, Sebastian strips any sense of his own agency from allusions to a homosexual encounter. He describes his companion鈥檚 actions, and the banal conversation between them, but leaves out certain moments, moments that we must suspect implicate him in encouraging, or at least being aware of, the direction of the interaction.
Sebastian鈥檚 memory likewise fades when he is describing how he came to stop attending the literary soirees of Maria Canales. He tells the story of how one night, a guest roaming the house found himself in the basement, where he discovered a room set up for interrogation and torture. It is not clear who this guest was, but the evasions and gaps in the narrative point to Sebastian as the discoverer. His words, I was not afraid. I would have been able to speak out, but I didn鈥檛 know anything until it was too late, ring with the desperation of a guilty falsehood. In Canales鈥檚 house, the writers drink and hold intellectual conversations, while beneath them, people are being tortured. This image is laden with the imperative to speak out, yet Sebastian distances himself from such things almost to the last. The torturing presence of the wizened youth is the only indication that he is troubled by his dissemblance.
is among 叠辞濒补帽辞鈥檚 shorter works, but it packs a lot into its pages. As a psychological study of guilt and repressed memories, and as a novella with a political imperative, is a quietly powerful work. It also contains a lot of humor and knowing self-effacement regarding the position of writers and critics ~~ and the aggrandized view they may have of themselves ~~ which is always enjoyable to read.
~~
Random thought ~~ it appears that 叠辞濒补帽辞 himself is speaking to us in the very first line, I am dying now, but I still have many things to say.
is an unusual novel in 叠辞濒补帽辞鈥檚. universe. In its merely two paragraphs ~~ the second and last is comprise of only 7 words ~~ we sit with a dying man, one single night ~~ somewhere in Chile ~~ listening to his life鈥檚 story ~~ of which he claims to still have many things to say. That man is Father Sebastian Urrutia ~~ renowned literary critic, failed poet and, as we soon come to find out, a coward. However, 叠辞濒补帽辞鈥檚 novella is not only the story of one cowardly individual, but more generally a satire on a whole generation of Chilean intellectuals who chose to put their heads down when their country was suffering through the atrocities of the Pinochet regime.
is 叠辞濒补帽辞'蝉 clearest vision of the savage politics of the last century, particularly of Latin America. 叠辞濒补帽辞 has a way of presenting the politics in an almost farcical way ~~ for a while ~~ until taking a turn to the horrific climax.
This monologue of the dying right-wing priest/poet/critic is not only an indictment out of his own mouth of a clerical fascist but is also a examination of literature鈥檚 essential complicity with authority and terror.
叠辞濒补帽辞 can create the most uncanny effects ~~ the shadows of the hurrying citizens on a caf茅 wall, the narrator鈥檚 various visions of a wizened youth, the priest鈥檚 whole long account of church falconry in Europe, the climactic story of the literary evenings where everything feels slightly wrong ~~ and we soon find out why.
There are four main stories Father Sebasti谩n Urrutia Lacroix remembers on his deathbed: the first encounter with his mentor, Farewell, who will test both his literary and sexual talents, the trip to Europe with the mission entrusted to him by his superiors to try and save European churches menaced with decay by pigeon shit, the nine Marxist lessons given to Pinochet and his generals and the literary meetings in Mar铆a Canales鈥檚 house, house that was secretly used by the secret police for imprisonment and torture. These four stories, subtly interconnected, offer not only a dramatic image of Chilean literature under the dictatorship but also a dramatic image of the intellectual鈥檚 behavior under the terror.
Sebastian is haunted throughout his telling by a wizened youth who seems determined to undermine his narration. This youth can be seen as a figment of Sebastian鈥檚 fevered imagination, a real person with secret knowledge of Sebastian鈥檚 affairs, or, an embodiment of Sebastian鈥檚 own repressed moral conscience. The reader is led to believe that Sebastian had no choice in how his life unfolded, and that he was simply a victim of circumstance. This calls his reliability into question.
In Sebastian鈥檚 telling of events, he told his companion, Farewell, about these lessons after an attack of conscience ~~ even though he was explicitly forbidden to speak of them. In this, his narrative betrays itself I shrugged my shoulders, as people do in novels, but never in real life, and later I shrugged my shoulders again. It is possible that while Sebastian felt an attack of conscience, he never actually acted upon it. The discussion with Farewell may be a fiction, as is suggested by these shrugs that only happen in novels.
In addition to the perpetual presence of the wizened youth and the self-betraying narration, Sebastian鈥檚 story struggles through his various fadings of memory ~~ some of which appear extremely convenient. Early in the novel, Sebastian strips any sense of his own agency from allusions to a homosexual encounter. He describes his companion鈥檚 actions, and the banal conversation between them, but leaves out certain moments, moments that we must suspect implicate him in encouraging, or at least being aware of, the direction of the interaction.
Sebastian鈥檚 memory likewise fades when he is describing how he came to stop attending the literary soirees of Maria Canales. He tells the story of how one night, a guest roaming the house found himself in the basement, where he discovered a room set up for interrogation and torture. It is not clear who this guest was, but the evasions and gaps in the narrative point to Sebastian as the discoverer. His words, I was not afraid. I would have been able to speak out, but I didn鈥檛 know anything until it was too late, ring with the desperation of a guilty falsehood. In Canales鈥檚 house, the writers drink and hold intellectual conversations, while beneath them, people are being tortured. This image is laden with the imperative to speak out, yet Sebastian distances himself from such things almost to the last. The torturing presence of the wizened youth is the only indication that he is troubled by his dissemblance.
is among 叠辞濒补帽辞鈥檚 shorter works, but it packs a lot into its pages. As a psychological study of guilt and repressed memories, and as a novella with a political imperative, is a quietly powerful work. It also contains a lot of humor and knowing self-effacement regarding the position of writers and critics ~~ and the aggrandized view they may have of themselves ~~ which is always enjoyable to read.
June 26, 2021
Este es el segundo libro que leo de 叠辞濒补帽辞, el primero fue Detectives Salvajes, que es de mis libros favoritos. Este es completamente distinto en estilo, casi como si fuera escrito por otra persona, pero igual me encant贸. Es el viaje en la memoria de un personaje que no sabes si te cae bien o mal, un sacerdote entusiasta de la literatura, la poes铆a. Es un viaje hacia todo tipo de recuerdos, pasan por ah铆 Neruda, Pinochet, analiza constantemente todo tipo de traumas chilenos, de caracter y de historia, tambien plantea preguntas como, el arte puede ser independiente de la visi贸n politica? Muy bueno, me intriga leer mas libros suyos.
June 22, 2016
I am dying now, but I still have many things to say. I used to be at peace with myself. Quiet and at peace.
But it all blew up unexpectedly. That wizened youth is to blame. I was at peace.
The opening lines suggests this is a flashback sort of novel, a reinterpretation the past at the end of a long life and an appeal to the reader to hear the narrator's confession. His name is Sebastian Urrutia Lacroix, a Chilean of mixed Basque and French ancestry, a Jesuit priest, a poet, a literary critic, a teacher, a journalist ... an old man now plagued by ill health and by a heavy conscience.
Life is a succession of misunderstandings, leading us on to the final truth, the only truth.
This is the scope of the story, the challenge that Bolano sets out to prove he can capture the whole essence of life in a novella long confession, and this is what he spectacularly achieves imho. This is also my first foray into his universe, and I feel almost overwhelmed by the scope and the intensity of his vision. I thought I was prepared by the glowing remarks of some of my 欧宝娱乐 friends, but Roberto Bolano surpassed my already high expectations. I feel now like I have only dipped one foot in to test the waters of the ocean, wondering if I have what it takes to pick up "The Savage Detectives" or "2666". I believe they will be both exhausting and life-altering experiences.
Sordello, which Sordello? Dante's Sordello, Pound's Sordello, the Sordello of the 'Ensenhamens d'onor', the Sordello of the 'planh' on the death of Blacatz? The one who rode with Raymond Berenger and Charles I of Anjou, Sordello who was not afraid, who was not afraid, who was not afraid.
Who is the wizened youth? Why is an early medieval troubadour so important to the story? I could give you what I think the answer is . It would be better though for each reader to try to come with his or her own answers, reconsidering their own youth and aspirations. The same could be said about all the rest of my commentaries here - attempts to decode the parables and the metaphors that so enrich the text. The poet Bolano suggests and asks questions, of our intelligence and of our hearts. It is up to us to fill in the blank spaces and to give or withhold absolution for Father Urrutia. I believe there will be as many interpretations as there are readers.
Some symbols are easier to understand than others, especially when they shine so brightly as the poet laureate Pablo Neruda. Urrutia meets him right after he comes out of the seminary, at the country farm of one of his mentors, the critic Farewell. Here is the night filled with stars over the Andes, here is the sensuality and the confusion and the endless possibility of youth. What would Urrutia do with the gift of the night?
Next symbol: a Paris saloon during the Nazi occupation. A diplomat and a German officer delight in intellectual conversations, as an exiled Guatemalan painter dies slowly of sorrow, gazing over colour drained Paris rooftops. What can it mean? The rewards of culture and of intelligent friends, but are they enough to built your whole life on?
Far from the idle but agitated and often indiscreet chatter of the Parisian salons, the Chilean writer and the German writer enjoyed a free-ranging conversation, touching on the human and the divine, war and peace, Italian painting and Nordic painting, the source of evil and the effects of evil that sometimes seem to be triggered by chance, the flora and fauna of Chile ...
In his middle age, Father Urrutia is a name to be reckoned with in the world of letters, and his friendship with the critic Farewel continues, but darker themes are now the subject of their conversation:
What's the use, what use are books, they're shadows, nothing but shadows. [...] I see whores stopping for a fraction of a second to contemplate something important, then heading off again like meteorites ... Whores coming and going, a river of tears ... There is no comfort in books ...
There is a hill in Austria called Heldenberg, a place of ghosts and misplaced ambitions, a monument to all the 'heroes' of war throughout history. Make what you will of it
And they saw neither statues nor tombs but only desolation and neglect, until at the very top of the hill they discovered a crypt that looked like a safe, with a sealed door, which they proceeded to open. Inside the crypt, sitting on a grand stone seat, they found the shoemaker's body, his eye sockets empty as if he were never to contemplate anything but the valley spread out below Heroes Hill, and his jaw hanging open, as if he were still laughing after having glimpsed immortality...
An emotionally drained Urrutia makes a pact with the Devil (taking the form of two shady characters with fateful nicknames, Mr. Raef and Mr. Etah). Urrutia accepts a sponsorship to take a long paid vacation through Europe, studying the old churches there. I see in this episode the narator's questioning his religious convictions, in particular the often brutally enforced supremacy of Catholicism . A old priest on his dying bed in Andaluzia, a Fra Antonio, is the catalyst of possible change in the narrator's worldview:
I have been thinking, he said, maybe this business with the falcons is not such a good idea, it's true they protect churches from the corrosive and, in the long term, destructive effects of pigeon shit, but one mustn't forget that pigeons or doves are the earthly symbol of the Holy Spirit, are they not?
After his trip to Europe, Urrutia decides to come back to Chile, as the political troubles surrounding Allende and Pinochet governments are heating up. This is by far the most important question that needs to be answered in an artist, in my humble opinion. Should Urrutia be a cold eye critic and passive oberver of history? Or should he burn up with passion and go out into the streets to make a difference? Should he keep quiet about the crimes and lies surrounding him, in order to preserve his life from the likes of Mr. Etah and Mr. Raef? Or should he risk it all for what is most probably a lost cause?
The section opens with a statement I have no trouble at all adopting for my own:
For me, things had been going well, but not for my country. I am not a fanatical nationalist, but I do sincerely love the land of my birth.
But how can we practice what we preach when secret commandos are kidnapping and torturing people by their thousands, starting with the leaders of opinion? Most of us, myself included, will turn into chameleons or ostriches, hiding our heads in the sand and pretending that life goes on as usual. The governing symbol of the times for Father Urrutia is the Judas Tree, mostly referred to in connection with a literary salon he frequented during the times of trouble.
We were bored. we read and we were bored. We intellectuals.
Because you can't read all day and all night. Splendid isolation has never been our style, and back then, as now, Chilean artists and writers needed to gather and talk, ideally in a pleasant setting where they could find intelligent company.
After the political dillema what else is there to say? Urutia gets old and the only thing left for him to answer is what did he do with the gift of youth?
Figments of the imagination that throng unbidden as one goes into the night of one's destiny. My destiny. My Sordello.
On the one hand, Urrutia was all his life a champion of culture as the engine of social progress, praising young Chilean poets and novelists in the pages of his critical essays:
That is how literature is made. Or at least what we call literature, to keep ourselves from falling into the rubbish dump.
On the other hand, he has been living under the Judas Tree, and the choices he has made will one day haunt each of us, if we accept that we have a conscience and we are willing to listen to it:
We're all writers, and in the end we all have to walk a long and rocky road.
Bolano, through the voice of Father Urrutia, is sounding the horns of the Last Judgement, a terrible warning about the waste of our youth and of our energies in trivial pursuits, while the whole edifice of civilization crumbles over our heads. I am put in the mind of two literary references that I am a bit too lazy to track down, but I hope they are popular enough to ring a bell. First, there is the one about living in the gutter, but looking up at the stars. Culture representing the stars, I believe. Secondly, there's the one about stumbling over the truth from time to time on our journey through life, but most of the time dusting ourselves off and continuing the journey as if nothing of matter has happened. Bolano has done his duty. It is up to us what we do with his truth.
Is there a solution? Sometimes the earth shakes. The epicenter of the quake is somewhere in the north or the south, but I can hear the earth shaking. Sometimes I feel dizzy. Sometimes the quake goes on for longer than usual, and people take shelter in doorways or under stairs or they rush out into the street. Is there a solution? I see people running in the streets. I see people going into the Metro or into movie theaters. I see people buying newspapers. And sometimes it all shakes and everything stops for a moment. And then I ask myself: Where is the wizened youth? Why has he gone away?
July 29, 2019
鈥淥ne has a moral obligation to take responsibility for one鈥檚 actions, and that includes one鈥檚 words and silences, yes, one鈥檚 silences, because silences rise to heaven too, and God hears them, and only God understands and judges them, so one must be very careful with one鈥檚 silences鈥�--Roberto 叠辞濒补帽辞
By Night in Chile is a novella, my second book by Roberto 叠辞濒补帽辞 after my reading last year of the 900 plus page 2666. It is tempting to say the former (an earlier) book is just a shorter version of 2666. Which is not to dismiss it in the least. There鈥檚 more 鈥渃omplexity鈥� in 2666, which I loved, but at this moment I would recommend this book to any reader curious about 叠辞濒补帽辞 (Savage Detectives is next up for me from him). Both novels deal in similar ways with the responsibility of the writer to real events in the world. The first section of 2666 is a kind of satirical look at a bunch of fawning literary critics all writing about a reclusive novelist who may or may not be hiding out in Mexico, where there was the real-world killing of women in the nineties, known as the femicides, the murders (and usually rapes) of 112 young, poor, and mostly uneducated women in the Juarez area of Mexico, in the state of Sonora (though he calls the city Santa Teresa). The literary critics write about writers, not femicides, obviously!
Later in 2666 we meet an academic, a philosopher who is visiting Santa Teresa with his daughter. Again, he鈥檚 a writer but this is not his 鈥渁rea鈥� to write about, though he is concerned about his daughter鈥檚 safety. Later we meet a journalist from an African American publication in NYC, sent to cover a boxing match there, even though sports is not his area. He becomes interested in the local coverage of the femicides, but his boss does not want him to write about it (not his area, again).
In By Night in Chile we have a first person death-bed rant by a flawed priest, Father Urrutia, who has written poetry and literary criticism but was conscripted to teach Marxism to Pinochet and his generals. Early on he meets Pablo Neruda, a very different Chilean poet who like 叠辞濒补帽辞 was an activist against dictatorships, both jailed for it.
And what of the responsibility of the Church to the real world? Father Urrutia tells of a trip to Europe where he meets with other priests interested in falconry. 鈥楴uff said. Increasingly, the darkly satirical nature of this story becomes clear. It can also be funny in places, and pretty surreal at times. The priest is delusional self-justifying, twisting things to make himself look better than he is.
Cut to the chase: Both 2666 and By Night in Chile are about the purpose of writing; 叠辞濒补帽辞 urges us to write and read to save the planet, to change the direction from barbarism to humanism. He thinks that most writing is damagingly disconnected with the decline of western civilization, such as fascism and the murder of women and the neo-liberal capitalist creation of poverty and the world鈥檚 increasing and utter disregard for the poor, climate change, the fate of the planet, and so on. In the end 叠辞濒补帽辞 confronts us with devastating questions that anyone, anywhere should be asking of themselves right now: What does what is happening to the world and others have to do with me? What is my responsibility (or debt to be paid) for living on the planet?
By Night in Chile is a novella, my second book by Roberto 叠辞濒补帽辞 after my reading last year of the 900 plus page 2666. It is tempting to say the former (an earlier) book is just a shorter version of 2666. Which is not to dismiss it in the least. There鈥檚 more 鈥渃omplexity鈥� in 2666, which I loved, but at this moment I would recommend this book to any reader curious about 叠辞濒补帽辞 (Savage Detectives is next up for me from him). Both novels deal in similar ways with the responsibility of the writer to real events in the world. The first section of 2666 is a kind of satirical look at a bunch of fawning literary critics all writing about a reclusive novelist who may or may not be hiding out in Mexico, where there was the real-world killing of women in the nineties, known as the femicides, the murders (and usually rapes) of 112 young, poor, and mostly uneducated women in the Juarez area of Mexico, in the state of Sonora (though he calls the city Santa Teresa). The literary critics write about writers, not femicides, obviously!
Later in 2666 we meet an academic, a philosopher who is visiting Santa Teresa with his daughter. Again, he鈥檚 a writer but this is not his 鈥渁rea鈥� to write about, though he is concerned about his daughter鈥檚 safety. Later we meet a journalist from an African American publication in NYC, sent to cover a boxing match there, even though sports is not his area. He becomes interested in the local coverage of the femicides, but his boss does not want him to write about it (not his area, again).
In By Night in Chile we have a first person death-bed rant by a flawed priest, Father Urrutia, who has written poetry and literary criticism but was conscripted to teach Marxism to Pinochet and his generals. Early on he meets Pablo Neruda, a very different Chilean poet who like 叠辞濒补帽辞 was an activist against dictatorships, both jailed for it.
And what of the responsibility of the Church to the real world? Father Urrutia tells of a trip to Europe where he meets with other priests interested in falconry. 鈥楴uff said. Increasingly, the darkly satirical nature of this story becomes clear. It can also be funny in places, and pretty surreal at times. The priest is delusional self-justifying, twisting things to make himself look better than he is.
Cut to the chase: Both 2666 and By Night in Chile are about the purpose of writing; 叠辞濒补帽辞 urges us to write and read to save the planet, to change the direction from barbarism to humanism. He thinks that most writing is damagingly disconnected with the decline of western civilization, such as fascism and the murder of women and the neo-liberal capitalist creation of poverty and the world鈥檚 increasing and utter disregard for the poor, climate change, the fate of the planet, and so on. In the end 叠辞濒补帽辞 confronts us with devastating questions that anyone, anywhere should be asking of themselves right now: What does what is happening to the world and others have to do with me? What is my responsibility (or debt to be paid) for living on the planet?
dropped
January 28, 2012Oh shut up, Roberto. SHUT. UP. What is this cobblers? Why do you want me to read the rambling deathbed memoir of a Chilean priest who can鈥檛 let a sentence end and couldn鈥檛 find a paragraph break in a tower of cassocks? Why 诲辞苍鈥檛 you establish this character as an actual character? Why did you write a list of scenes or incidents that might be used in future novels instead of, to quote The Guardian鈥斺€渁 beautifully written analysis of Chilean literary life?鈥� It gives me no pleasure to play devil鈥檚 advocate in a glistening ocean of five-star reviews, but I threw in the towel one-third through this petite cowfart in the Roberto canon. His work is better when it鈥檚 longer, i.e. 2666. Clearly.
March 16, 2022
鈥淎s time goes by, as time goes by, the whip-crack of the years, the precipice of illusions, the ravine that swallows up all human endeavour except the struggle to survive.鈥�
In By Night in Chile Robert 叠辞濒补帽辞 explores the recollections and fevered dreams of a Jesuit priest on his deathbed. The priest does not care much for the poor folk, but instead had loftier ambitions, both literary and social. He socialized with the elite and toured monasteries through Europe, recollecting how falconers hunt pigeons to prevent damage to these structures. It is clear he was out of touch with the people and their suffering. By presenting the priest's life this way, 叠辞濒补帽辞 offers a subtle but engaging critique of those in positions of power who ignore the brutality of life under dictatorship.
鈥�....life went on and on and on, like a necklace of rice grains, on each grain of which a landscape had been painted, tiny grains and microscopic landscapes, and I knew that everyone was putting that necklace on and wearing it, but no one had the patience to take it off and look at it closely and decipher each landscape grain by grain, partly because to do so required the vision of a lynx or an eagle, and partly because the landscapes usually turned out to contain unpleasant surprises like coffins, makeshift cemeteries, ghost towns, the void and the horror, the smallness of being and its ridiculous will, people watching television, people going to football matches, boredom circumnavigating the Chilean imagination like an enormous aircraft carrier.鈥�
鈥淎nd then the storm of shit begins.鈥�
In By Night in Chile Robert 叠辞濒补帽辞 explores the recollections and fevered dreams of a Jesuit priest on his deathbed. The priest does not care much for the poor folk, but instead had loftier ambitions, both literary and social. He socialized with the elite and toured monasteries through Europe, recollecting how falconers hunt pigeons to prevent damage to these structures. It is clear he was out of touch with the people and their suffering. By presenting the priest's life this way, 叠辞濒补帽辞 offers a subtle but engaging critique of those in positions of power who ignore the brutality of life under dictatorship.
鈥�....life went on and on and on, like a necklace of rice grains, on each grain of which a landscape had been painted, tiny grains and microscopic landscapes, and I knew that everyone was putting that necklace on and wearing it, but no one had the patience to take it off and look at it closely and decipher each landscape grain by grain, partly because to do so required the vision of a lynx or an eagle, and partly because the landscapes usually turned out to contain unpleasant surprises like coffins, makeshift cemeteries, ghost towns, the void and the horror, the smallness of being and its ridiculous will, people watching television, people going to football matches, boredom circumnavigating the Chilean imagination like an enormous aircraft carrier.鈥�
鈥淎nd then the storm of shit begins.鈥�
December 24, 2019
Nocturno de Chile = By Night in Chile, Roberto 叠辞濒补帽辞
The story is narrated entirely in the first person by the sick and aging Father Urrutia. Taking place over the course of a single evening, the book is the macabre, feverish monologue of a flawed man and a failed priest. Except for the final sentence, the book is written without paragraphs or line breaks. Persistently hallucinatory and defensive, the story ranges from Opus Dei to falconry to private lessons on Marxism for Pinochet and his generals directed at the unspecified reproaches of "the wizened youth."
The story begins with the lines "I am dying now, but I still have many things to say", and proceeds to describe, after a brief mention of joining the priesthood, how Father Urrutia entered the Chilean literary world under the wing of a famous, albeit fictitious, tacitly homosexual literary critic by the name of Farewell. At Farewell's estate he encounters the critic's close friend Pablo Neruda and later begins to publish literary criticism and poetry. ...
毓賳賵丕賳賴丕: 卮亘丕賳賴鈥� 賴丕蹖 卮蹖賱蹖貨 卮亘鈥� 賴賳诏丕賲 丿乇 卮蹖賱蹖: 乇賲丕賳貨 賳賵蹖爻賳丿賴: 乇賵亘乇鬲賵 亘賱丕賳蹖賵貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 亘蹖爻鬲 賵 趩賴丕乇賲 賲丕賴 丿爻丕賲亘乇 爻丕賱 2013 賲蹖賱丕丿蹖
毓賳賵丕賳: 卮亘丕賳賴鈥� 賴丕蹖 卮蹖賱蹖貨 賳賵蹖爻賳丿賴: 乇賵亘乇鬲賵 亘賱丕賳蹖賵貨 亘乇诏乇丿丕賳: 乇亘丕亘 賲丨亘貨 賲卮賴丿: 亘賵鬲蹖賲丕乇貨 鬲賴乇丕賳: 賳诏丕賴鈥忊€� 1391貨 丿乇 136 氐貨 卮丕亘讴: 9789649963945貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 丕爻倬丕賳蹖丕蹖蹖 丕夭 賳賵蹖爻賲丿诏丕賳 卮蹖賱蹖丕蹖蹖 - 爻丿賴 21 賲鈥�
毓賳賵丕賳: 卮亘鈥� 賴賳诏丕賲 丿乇 卮蹖賱蹖: 乇賲丕賳貨 賳賵蹖爻賳丿賴: 乇賵亘乇鬲賵 亘賵賱丕賳蹖賵貨 賲鬲乇噩賲: 賮乇蹖丿賴 卮亘丕賳賮乇貨 鬲賴乇丕賳 : 賲乇賵丕乇蹖丿貙 鈥忊€�1392貨 丿乇 151 氐貨 卮丕亘讴: 9789641912385貨
乇賲丕賳 芦卮亘 賴賳诏丕賲 丿乇 卮蹖賱蹖禄 丕孬乇 芦乇賵亘乇鬲賵 亘賵賱丕賳蹖賵禄 乇賵丕蹖鬲蹖貙 丕夭 賲乇賵乇 蹖丕丿賲丕賳賴丕蹖 丕毓鬲乇丕賮 诏賵賳賴 蹖 讴卮蹖卮貙 賵 卮丕毓乇蹖 卮蹖賱蹖丕蹖蹖 亘賴 賳丕賲: 芦爻亘丕爻鬲蹖丕賳 蹖賵乇賵鬲蹖丕 賱丕讴乇賵丌禄 丿乇 亘爻鬲乇 賲乇诏 丕爻鬲. 賳賵蹖爻賳丿賴 蹖 讴鬲丕亘貙 丿乇 匕賴賳 賯賴乇賲丕賳 卮讴爻鬲 禺賵乇丿賴 蹖 丿丕爻鬲丕賳 禺賵蹖卮貙 爻賮乇蹖 丕賵丿蹖爻賴 賵丕乇 乇丕貙 丿乇 丿賳蹖丕蹖 丕丿亘蹖丕鬲 噩賴丕賳貙 丌睾丕夭 賲蹖讴賳賳丿貙 賵 亘賴 亘賴丕賳賴 蹖 乇賵丕蹖鬲 夭賳丿诏蹖 卮丕毓乇蹖 噩賵丕賳貙 鬲丕乇蹖禺 丕丿亘蹖丕鬲 噩賴丕賳貙 賵 芦卮蹖賱蹖禄 乇丕貙 丕夭 丌睾丕夭貙 鬲丕 丿賵乇丕賳 丿蹖讴鬲丕鬲賵乇蹖 芦倬蹖賳賵卮賴禄貙 賲蹖讴丕賵賳丿. 丿乇 賵丕賯毓 丿丕爻鬲丕賳 賲乇丿蹖 禺蹖丕賱 倬乇丿丕夭貙 賵 爻賵丿丕蹖蹖 丕爻鬲貙 讴賴 丿乇 丨丕賱 賲乇诏貙 丿乇 賲賵賯毓蹖鬲蹖 讴賴 亘蹖 卮亘丕賴鬲貙 亘賴 賲賵賯毓蹖鬲 卮禺氐蹖鬲 丕氐賱蹖 丿丕爻鬲丕賳 芦亘讴鬲禄貙 丿乇 讴鬲丕亘 芦賲丕賱賵賳 賲蹖賲蹖乇丿禄 賳蹖爻鬲貙 亘乇丕蹖 丿賮丕毓 丕夭 禺賵丿貙 丿乇 亘乇丕亘乇 丕鬲賴丕賲丕鬲蹖 讴賴 賲賵噩賵丿蹖 禺蹖丕賱蹖貙 賲賱賯亘 亘賴 芦胤賮賱 賮乇鬲賵鬲禄貙 亘賴 丕賵 賵丕乇丿 讴乇丿賴貙 夭賳丿诏蹖 禺賵丿 乇丕 乇賵丕蹖鬲 賲蹖讴賳丿. 賳丕賲 丕蹖賳 賲乇丿 讴賴 讴卮蹖卮貙 賲賳鬲賯丿 丕丿亘蹖貙 賵 卮丕毓乇蹖 卮蹖賱蹖丕蹖蹖 丕爻鬲貙 芦爻亘丕爻鬲蹖丕賳 蹖賵乇賵鬲蹖丕 賱丕讴乇賵丌禄 丕爻鬲貙 賵 讴鬲丕亘 鬲賲丕賲丕 鬲讴 诏賵蹖蹖 丕蹖卮丕賳爻鬲 賵 夭賲丕賳 丿丕爻鬲丕賳 賴賲 爻丕賱賴丕蹖 丿賴賴 蹖 爻蹖 鬲丕 丿賴賴 蹖 賳賵丿 爻丿賴 蹖 亘蹖爻鬲賲 賲蹖賱丕丿蹖貙 賵 亘賴 賱丨丕馗 爻蹖丕爻蹖 丿乇亘乇诏蹖乇賳丿賴 蹖 爻丕賱賴丕蹖 丨讴賵賲鬲 芦爻丕賱賵丕丿賵乇 丌賱賳丿賴禄貙 鬲丕 丿賵乇丕賳 倬爻 丕夭 讴賳丕乇賴 诏蹖乇蹖 芦倬蹖賳賵卮賴禄 丕夭 賯丿乇鬲 丿乇 芦卮蹖賱蹖禄 丕爻鬲. 丕. 卮乇亘蹖丕賳蹖
The story is narrated entirely in the first person by the sick and aging Father Urrutia. Taking place over the course of a single evening, the book is the macabre, feverish monologue of a flawed man and a failed priest. Except for the final sentence, the book is written without paragraphs or line breaks. Persistently hallucinatory and defensive, the story ranges from Opus Dei to falconry to private lessons on Marxism for Pinochet and his generals directed at the unspecified reproaches of "the wizened youth."
The story begins with the lines "I am dying now, but I still have many things to say", and proceeds to describe, after a brief mention of joining the priesthood, how Father Urrutia entered the Chilean literary world under the wing of a famous, albeit fictitious, tacitly homosexual literary critic by the name of Farewell. At Farewell's estate he encounters the critic's close friend Pablo Neruda and later begins to publish literary criticism and poetry. ...
毓賳賵丕賳賴丕: 卮亘丕賳賴鈥� 賴丕蹖 卮蹖賱蹖貨 卮亘鈥� 賴賳诏丕賲 丿乇 卮蹖賱蹖: 乇賲丕賳貨 賳賵蹖爻賳丿賴: 乇賵亘乇鬲賵 亘賱丕賳蹖賵貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 亘蹖爻鬲 賵 趩賴丕乇賲 賲丕賴 丿爻丕賲亘乇 爻丕賱 2013 賲蹖賱丕丿蹖
毓賳賵丕賳: 卮亘丕賳賴鈥� 賴丕蹖 卮蹖賱蹖貨 賳賵蹖爻賳丿賴: 乇賵亘乇鬲賵 亘賱丕賳蹖賵貨 亘乇诏乇丿丕賳: 乇亘丕亘 賲丨亘貨 賲卮賴丿: 亘賵鬲蹖賲丕乇貨 鬲賴乇丕賳: 賳诏丕賴鈥忊€� 1391貨 丿乇 136 氐貨 卮丕亘讴: 9789649963945貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 丕爻倬丕賳蹖丕蹖蹖 丕夭 賳賵蹖爻賲丿诏丕賳 卮蹖賱蹖丕蹖蹖 - 爻丿賴 21 賲鈥�
毓賳賵丕賳: 卮亘鈥� 賴賳诏丕賲 丿乇 卮蹖賱蹖: 乇賲丕賳貨 賳賵蹖爻賳丿賴: 乇賵亘乇鬲賵 亘賵賱丕賳蹖賵貨 賲鬲乇噩賲: 賮乇蹖丿賴 卮亘丕賳賮乇貨 鬲賴乇丕賳 : 賲乇賵丕乇蹖丿貙 鈥忊€�1392貨 丿乇 151 氐貨 卮丕亘讴: 9789641912385貨
乇賲丕賳 芦卮亘 賴賳诏丕賲 丿乇 卮蹖賱蹖禄 丕孬乇 芦乇賵亘乇鬲賵 亘賵賱丕賳蹖賵禄 乇賵丕蹖鬲蹖貙 丕夭 賲乇賵乇 蹖丕丿賲丕賳賴丕蹖 丕毓鬲乇丕賮 诏賵賳賴 蹖 讴卮蹖卮貙 賵 卮丕毓乇蹖 卮蹖賱蹖丕蹖蹖 亘賴 賳丕賲: 芦爻亘丕爻鬲蹖丕賳 蹖賵乇賵鬲蹖丕 賱丕讴乇賵丌禄 丿乇 亘爻鬲乇 賲乇诏 丕爻鬲. 賳賵蹖爻賳丿賴 蹖 讴鬲丕亘貙 丿乇 匕賴賳 賯賴乇賲丕賳 卮讴爻鬲 禺賵乇丿賴 蹖 丿丕爻鬲丕賳 禺賵蹖卮貙 爻賮乇蹖 丕賵丿蹖爻賴 賵丕乇 乇丕貙 丿乇 丿賳蹖丕蹖 丕丿亘蹖丕鬲 噩賴丕賳貙 丌睾丕夭 賲蹖讴賳賳丿貙 賵 亘賴 亘賴丕賳賴 蹖 乇賵丕蹖鬲 夭賳丿诏蹖 卮丕毓乇蹖 噩賵丕賳貙 鬲丕乇蹖禺 丕丿亘蹖丕鬲 噩賴丕賳貙 賵 芦卮蹖賱蹖禄 乇丕貙 丕夭 丌睾丕夭貙 鬲丕 丿賵乇丕賳 丿蹖讴鬲丕鬲賵乇蹖 芦倬蹖賳賵卮賴禄貙 賲蹖讴丕賵賳丿. 丿乇 賵丕賯毓 丿丕爻鬲丕賳 賲乇丿蹖 禺蹖丕賱 倬乇丿丕夭貙 賵 爻賵丿丕蹖蹖 丕爻鬲貙 讴賴 丿乇 丨丕賱 賲乇诏貙 丿乇 賲賵賯毓蹖鬲蹖 讴賴 亘蹖 卮亘丕賴鬲貙 亘賴 賲賵賯毓蹖鬲 卮禺氐蹖鬲 丕氐賱蹖 丿丕爻鬲丕賳 芦亘讴鬲禄貙 丿乇 讴鬲丕亘 芦賲丕賱賵賳 賲蹖賲蹖乇丿禄 賳蹖爻鬲貙 亘乇丕蹖 丿賮丕毓 丕夭 禺賵丿貙 丿乇 亘乇丕亘乇 丕鬲賴丕賲丕鬲蹖 讴賴 賲賵噩賵丿蹖 禺蹖丕賱蹖貙 賲賱賯亘 亘賴 芦胤賮賱 賮乇鬲賵鬲禄貙 亘賴 丕賵 賵丕乇丿 讴乇丿賴貙 夭賳丿诏蹖 禺賵丿 乇丕 乇賵丕蹖鬲 賲蹖讴賳丿. 賳丕賲 丕蹖賳 賲乇丿 讴賴 讴卮蹖卮貙 賲賳鬲賯丿 丕丿亘蹖貙 賵 卮丕毓乇蹖 卮蹖賱蹖丕蹖蹖 丕爻鬲貙 芦爻亘丕爻鬲蹖丕賳 蹖賵乇賵鬲蹖丕 賱丕讴乇賵丌禄 丕爻鬲貙 賵 讴鬲丕亘 鬲賲丕賲丕 鬲讴 诏賵蹖蹖 丕蹖卮丕賳爻鬲 賵 夭賲丕賳 丿丕爻鬲丕賳 賴賲 爻丕賱賴丕蹖 丿賴賴 蹖 爻蹖 鬲丕 丿賴賴 蹖 賳賵丿 爻丿賴 蹖 亘蹖爻鬲賲 賲蹖賱丕丿蹖貙 賵 亘賴 賱丨丕馗 爻蹖丕爻蹖 丿乇亘乇诏蹖乇賳丿賴 蹖 爻丕賱賴丕蹖 丨讴賵賲鬲 芦爻丕賱賵丕丿賵乇 丌賱賳丿賴禄貙 鬲丕 丿賵乇丕賳 倬爻 丕夭 讴賳丕乇賴 诏蹖乇蹖 芦倬蹖賳賵卮賴禄 丕夭 賯丿乇鬲 丿乇 芦卮蹖賱蹖禄 丕爻鬲. 丕. 卮乇亘蹖丕賳蹖
November 17, 2021
鈥淚 am dying now, but I still have many things to say. I used to be at peace with myself. Quiet and at peace. But it all blew up unexpectedly. That wizened youth is to blame. I was at peace. I am no longer at peace.鈥�
A deathbed confession of an unreliable narrator priest.
Roberto Bolano鈥檚 2000 publication is set in Chile as the elderly priest prepares for death and looks back, in a stream of consciousness narration, over a life of complicated loyalties and halfhearted devotions.
While a Catholic priest, he seemed to spend more time hobnobbing with the wealthy and literary types, including Pablo Neruda, than with his flock. A literary critic and failed artist himself, he demonstrates a lack of social responsibility and concern for his parishioners and seems to care more for his own social status.
Most notable was that the priest was recruited to provide lessons on Marxism to the Chilean junta, including Pinochet. These lessons, set up by saturnine military officials and enacted in secret, were so that the priest, ostensibly somewhat an expert on Marxism could educate the ruling military governors of how their enemies, 鈥渢he enemies of Chile鈥� thought and operated.
Bolano, himself an activist and supporter of Chilean President Allende, was briefly jailed by Pinochet鈥檚 forces after the military junta took over in 1973.
This short work highlights and emphasizes the hypocrisy and lukewarm support the artistic class and the church provided to opponents of Pinochet鈥檚 heavy-handed rule. One section even exposes how a friend of the priest鈥檚 husband was involved in clandestine torture and assassination.
I may have enjoyed this more if I understood more about Chilean history and / or if I understood the Catholic church and its status in Chile. All that said, this was entertaining and thought provoking and enjoyable.
A deathbed confession of an unreliable narrator priest.
Roberto Bolano鈥檚 2000 publication is set in Chile as the elderly priest prepares for death and looks back, in a stream of consciousness narration, over a life of complicated loyalties and halfhearted devotions.
While a Catholic priest, he seemed to spend more time hobnobbing with the wealthy and literary types, including Pablo Neruda, than with his flock. A literary critic and failed artist himself, he demonstrates a lack of social responsibility and concern for his parishioners and seems to care more for his own social status.
Most notable was that the priest was recruited to provide lessons on Marxism to the Chilean junta, including Pinochet. These lessons, set up by saturnine military officials and enacted in secret, were so that the priest, ostensibly somewhat an expert on Marxism could educate the ruling military governors of how their enemies, 鈥渢he enemies of Chile鈥� thought and operated.
Bolano, himself an activist and supporter of Chilean President Allende, was briefly jailed by Pinochet鈥檚 forces after the military junta took over in 1973.
This short work highlights and emphasizes the hypocrisy and lukewarm support the artistic class and the church provided to opponents of Pinochet鈥檚 heavy-handed rule. One section even exposes how a friend of the priest鈥檚 husband was involved in clandestine torture and assassination.
I may have enjoyed this more if I understood more about Chilean history and / or if I understood the Catholic church and its status in Chile. All that said, this was entertaining and thought provoking and enjoyable.
Read
March 11, 2017Elem: 膶ile no膰u (a za拧to su imali potrebu da tako prevedu naslov 膶ileanski nokturno - ne znam) je prva Bolanjova knjiga dovoljno pregledna da radnju mogu da sa啪mem u dve re膷enice. Jer je zapravo novela. Ili da mo啪da probam da je sa啪mem u jednu re膷enicu: te拧ko je i ponekad sramotno biti knji啪evni kriti膷ar prose膷ne ljudske hrabrosti (male) za vreme Pino膷eove diktature. A ina膷e, ovo ima sve tipi膷ne odlike Bolanja: fenomenalno je napisano, tempom koji kida, besprekorno me拧a stvarno i izmi拧ljeno (malo guglanja pokazalo mi je da je najsumanutiji koncept u knjizi - spisateljski parti u prizemlju dok u podrumu pino膷eovci mu膷e ljude - direktno, avaj, preuzet iz 啪ivota), struktura je ajmo re膰i neuobi膷ajena sa ubacivanjem pri膷ica koje kao da se prekidaju taman gde ne treba, ali sve deluje savr拧eno promi拧ljeno i funkcioni拧e kao 啪iv i zdrav organizam tj. besprekorno (dobro, i ovu sam re膷 ve膰 iskoristila, ali kad odgovara).
February 28, 2018
Vecchio e malato, padre Sebastian Urrutia Lacroix, critico letterario, scrittore, membro dell鈥橭pus Dei, compromessosi ma non troppo con il regime di Pinochet, deve difendere la propria reputazione, ora che 猫 tornata la democrazia, dagli attacchi di un misterioso giovane invecchiato. 鈥淐erchiamo di essere persone civili.鈥� Ricorda cos矛 in modo pi霉 o meno attendibile momenti della sua vita, pescando dai 鈥減ozzi neri della memoria鈥�, con lo scopo forse di ottenere una assoluzione e anche una autoassoluzione. Padre Sebastian ha conosciuto Neruda; ha recitato poesie al chiaro di luna a un insospettabile scrittore; si era perfino chiuso in casa a leggere i greci, mentre fuori gli eventi precipitavano. 鈥淧oi ci fu il colpo di Stato e quando smisero di bombardare il presidente si suicid貌 e tutto fin矛. Allora io rimasi immobile, con un dito sulla pagina che stavo leggendo, e pensai: che pace. Mi alzai e mi affacciai alla finestra: che silenzio.鈥�
鈥淪ilenzio鈥� e 鈥渢acere鈥� sono parole che si ripresentano spesso in queste 120 pagine. Nessuna scena di violenza viene descritta. C鈥櫭� per貌 l鈥檌mmagine potente e ricorrente dei falchi usati dai preti per tenere i piccioni alla larga dalle chiese. 鈥淭olsi il cappuccio al falco e gli dissi vola, Rodrigo, e proprio allora prese a soffiare un vento come d鈥檜ragano e la mia tonaca si sollev貌 come una bandiera piena di furia, e ricordo che gridai di nuovo vola, Rodrigo, e poi sentii un volo plurale e malsano, e le falde della tonaca mi coprirono gli occhi mentre il vento spazzava la chiesa e tutt鈥檌ntorno, e quando riuscii a togliermi dalla faccia il mio personale cappuccio scorsi sagome informi per terra, i piccoli corpi insanguinati di vari piccioni che il falco aveva depositato ai miei piedi.鈥�
Oppure la violenza aleggia minacciosa, proprio come un falco, grazie a una apparentemente innocua domanda, posta da un generale a una riunione di militari, a proposito di una presunta spia comunista. 鈥淓鈥� una bella ragazza?鈥�
Oppure la violenza rimane nascosta nel seminterrato di una villa elegante nei sobborghi di Santiago, mentre al piano di sopra critici e scrittori 鈥� compreso il nostro 鈥渆roe鈥� 鈥� partecipano a una festa. E se uno degli invitati, ubriaco, si perde tra le mille stanze e apre una porta che non doveva aprire e vede qualcosa che non doveva vedere, che cosa fa?
Con senso della misura, immagini potenti, situazioni e parole che si rincorrono, e con forti dosi di ironia soprattutto nei dialoghi (quello tra padre Sebastian e Pinochet 猫 un pezzo di bravura), Bolano esplora la coscienza di padre Sebastian e la coscienza collettiva di una nazione. E non solo di quella nazione.
La letteratura non si occupa solo di eroi. Un bel giorno padre Sebastian fa una domanda alla donna che abita in quella villa elegante nei sobborghi di Santiago. 鈥淓 si 猫 pentita? Come tutti, padre. Sentii che mi mancava l鈥檃ria. Poi si guard貌 intorno tranquilla, serena, a suo modo coraggiosa, e vide la sua casa, e disse che 猫 cos矛 che si faceva letteratura in Cile.鈥�
鈥淪ilenzio鈥� e 鈥渢acere鈥� sono parole che si ripresentano spesso in queste 120 pagine. Nessuna scena di violenza viene descritta. C鈥櫭� per貌 l鈥檌mmagine potente e ricorrente dei falchi usati dai preti per tenere i piccioni alla larga dalle chiese. 鈥淭olsi il cappuccio al falco e gli dissi vola, Rodrigo, e proprio allora prese a soffiare un vento come d鈥檜ragano e la mia tonaca si sollev貌 come una bandiera piena di furia, e ricordo che gridai di nuovo vola, Rodrigo, e poi sentii un volo plurale e malsano, e le falde della tonaca mi coprirono gli occhi mentre il vento spazzava la chiesa e tutt鈥檌ntorno, e quando riuscii a togliermi dalla faccia il mio personale cappuccio scorsi sagome informi per terra, i piccoli corpi insanguinati di vari piccioni che il falco aveva depositato ai miei piedi.鈥�
Oppure la violenza aleggia minacciosa, proprio come un falco, grazie a una apparentemente innocua domanda, posta da un generale a una riunione di militari, a proposito di una presunta spia comunista. 鈥淓鈥� una bella ragazza?鈥�
Oppure la violenza rimane nascosta nel seminterrato di una villa elegante nei sobborghi di Santiago, mentre al piano di sopra critici e scrittori 鈥� compreso il nostro 鈥渆roe鈥� 鈥� partecipano a una festa. E se uno degli invitati, ubriaco, si perde tra le mille stanze e apre una porta che non doveva aprire e vede qualcosa che non doveva vedere, che cosa fa?
Con senso della misura, immagini potenti, situazioni e parole che si rincorrono, e con forti dosi di ironia soprattutto nei dialoghi (quello tra padre Sebastian e Pinochet 猫 un pezzo di bravura), Bolano esplora la coscienza di padre Sebastian e la coscienza collettiva di una nazione. E non solo di quella nazione.
La letteratura non si occupa solo di eroi. Un bel giorno padre Sebastian fa una domanda alla donna che abita in quella villa elegante nei sobborghi di Santiago. 鈥淓 si 猫 pentita? Come tutti, padre. Sentii che mi mancava l鈥檃ria. Poi si guard貌 intorno tranquilla, serena, a suo modo coraggiosa, e vide la sua casa, e disse che 猫 cos矛 che si faceva letteratura in Cile.鈥�
November 19, 2011
What I have come to appreciate reading 叠辞濒补帽辞'蝉 book is the fact that he takes you on several small journeys getting you from plot-point to plot-point. You almost don't realize that he is doing it until you finish one of these tangents and get led carefully back to the main storyline. That 叠辞濒补帽辞 trusts his talents enough to introduce characters that are only there to make a single point, that they exist in the novel just to die or to cease to exist just so some small nuance of Chile, the Church or his personal imagination can be revealed is truly something.
For instance, a "Guatemalan Painter" is introduced and given depth and perspective before being assigned his lonely fate which is to fade away to nothingness despite having great talent just so that the author can depict the grim experiences of displaced foreigners and to introduce Don Salvador Reyes to Ernst J眉nger. He introduces Salvador Reyes and rounds him out as a character, portrays him as a man of principles and position, an erudite pillar of society. The meeting of the three men (the painter, Reyes and J眉nger) only accomplishes one single thing, a book translated in French is passed from Reyes to J眉nger providing the context for the only mention in the history of World War II of a Chilean ever taking part in the greatest conflict known to man.
As if to say, one of us took part in this great endeavor, and although nothing of the man exists or of the painter who made possible the acquaintance with the German officer and writer, but one of us was there and here is the proof (Ernst J眉nger who documents the existence of our participant). And displaced and erased we may be in this gigantic, Western history, at least ONE of us was there. One Chilean. One man. One proof. And without further explanation, the whole tale falls under the title "Landscape: Mexico City an hour before dawn" as painted by an unnamed Guatemalan artist. It is a poem, not a story.
叠辞濒补帽辞 does this to you again and again with such a light touch in these side-stories hidden among what is actually happening. And if you focus too closely on what is more obviously happening to Urrutia Lacroix as he becomes party to Mr. Fear and Mr. Hate, to the falconers and their destruction of spirit, to the Marxists he teaches and disowns, to the suppressed homosexuality of Farewell and the more literary circles, to the duality of his roles as liberal writer and conservative critic, and the old man denouncing and finally ceasing to renounce his wizened youth only at the end, etc.
If you look at only these more blatant metaphors you will miss the really fine morsels hidden in the tedious little filler pages, poetry masquerading as fluff, revelation in the side-notes.
For instance, a "Guatemalan Painter" is introduced and given depth and perspective before being assigned his lonely fate which is to fade away to nothingness despite having great talent just so that the author can depict the grim experiences of displaced foreigners and to introduce Don Salvador Reyes to Ernst J眉nger. He introduces Salvador Reyes and rounds him out as a character, portrays him as a man of principles and position, an erudite pillar of society. The meeting of the three men (the painter, Reyes and J眉nger) only accomplishes one single thing, a book translated in French is passed from Reyes to J眉nger providing the context for the only mention in the history of World War II of a Chilean ever taking part in the greatest conflict known to man.
As if to say, one of us took part in this great endeavor, and although nothing of the man exists or of the painter who made possible the acquaintance with the German officer and writer, but one of us was there and here is the proof (Ernst J眉nger who documents the existence of our participant). And displaced and erased we may be in this gigantic, Western history, at least ONE of us was there. One Chilean. One man. One proof. And without further explanation, the whole tale falls under the title "Landscape: Mexico City an hour before dawn" as painted by an unnamed Guatemalan artist. It is a poem, not a story.
叠辞濒补帽辞 does this to you again and again with such a light touch in these side-stories hidden among what is actually happening. And if you focus too closely on what is more obviously happening to Urrutia Lacroix as he becomes party to Mr. Fear and Mr. Hate, to the falconers and their destruction of spirit, to the Marxists he teaches and disowns, to the suppressed homosexuality of Farewell and the more literary circles, to the duality of his roles as liberal writer and conservative critic, and the old man denouncing and finally ceasing to renounce his wizened youth only at the end, etc.
If you look at only these more blatant metaphors you will miss the really fine morsels hidden in the tedious little filler pages, poetry masquerading as fluff, revelation in the side-notes.
February 26, 2016
Ova knjiga je sjajan izbor, makar za nekoga ko je, kao ja, o 膷ileanskim prilikama znao zanemarljivo malo. Kako bilo, ova je knjiga na mene ostavila prili膷no jak utisak na razne teme.
膶itala sam "Lagunino" izdanje u, rekla bih, veoma dobrom prevodu Igora Marojevi膰a (toliko dobrom da sam uspela da zaboravim sasvim nesretno re拧enu recenziju na koricama knjige - zbog 膷ega za malo da je zaobi膽em, jer me takvi sadr啪aji ne interesuju, nenavo膽enje jezika sa kog je Marojevi膰 prevodio - zbog 膷ega sam morala da istra啪ujem je li to onaj Marojevi膰 za koga znam da barata (i) katalonskim i tako redom, shodno standardima pojedinih izdava膷a).
Ispostavilo se da je pametnije 拧to sam odabrala to nego hrvatsku verziju sa, na prvi pogled, poeti膷nijim naslovom "膶ileanski nokturno", upravo zbog prevoda, budu膰i da je za adekvatno razumevanje Bolanja (makar ove knjige) neophodna prevodila膷ka ve拧tina dostojna talentu ovog pisca. Razlika izme膽u srpskog i hrvatskog re拧avanja istog problema je taman kolika i izme膽u no膰i i nokturna iz naslova, pre po膷etka, da bi se odr啪ala, izgleda, do kraja koji je kod Marojevi膰a "oluja govana", a kod kom拧inice "stra拧no nevrijeme".
膶ile no膰u je soba puna ogledala iz koje sam ja izabrala ono koje se odnosi na knji啪evnost i uslove pod kojima ona nastaje u 膶ileu (a, valjda, i na drugim mestima koja su bila osu膽ena na komunizam, diktaturu, klerofa拧izam, marksizam i druga crnila istorijskog valera). U tom smislu, Pino膷ea sam do啪ivela kao scenografski dekor, zajedno sa Alejndeom, i vi拧e se bavila pitanjem da li je ostareli mladi膰 koji fantazmagori膷no progoni pripoveda膷a Ernst Jinger i pod kojim okolnostima se tu upli膰e ba拧 koji Sordelo jer ima osnova da se aludira na Dantea, Oskara Vajlda, a i sam Sordelo nije zanemarljiva pojava.
Knjiga je stilski maestralna: napisana u jednom paragrafu, kao ispovest 膷oveka u groznici od koje ni 膷italac ne mo啪e da se spase. Pregnantnije nego u najuspelijim Saramagovim trudovima za ignorisanje interpunkcije, na stotinka strana ovde je, kako neko lepo re膷e, postignuto crnilo Gojinog mraka u kome ono 拧to najsjajnije blje拧ti nije tema. Zaista ne znam kako je to sve tu stalo: nebo krvavo od golubova koje kolju sokolovi, austrougarski car i obu膰ar, diskrecija (stilska, ne jezi膷ka) kojom se govori o gej nazorima pa i pedofiliji, Nerudina sahrana, gvatemalski slikar koji vidi Meksiko siti kroz pariski prozor, knji啪evne kritike, mediokritetska knji啪evnost, sorei u vilama, Tukidid, Opus Dei, mu膷enja u podrumima鈥 nije Sorokin, na primer.
Roberta Bolanja smatram vrlo ozbiljnim piscem, uprkos 膷injenici da ina膷e zazirem od manjka formalnog obrazovanja (pa odozgo i disleksije), hipi fazona, komunisti膷kih agitacija, nevaspitanih protestvovanja protiv autoriteta i izmi拧ljanja novih re膷i i stilova po svaku cenu. Sude膰i po ovoj jednoj knjizi, da dovoljno je on veliki da iza膽e Markesu na crtu i da ka啪e da realizam treba da bude produbljen, dakle, infra, a ne naki膰en nekakvom magijom.
Iako gotovo nikada ne 膷itam istu knjigu dva puta, ova 膰e se na膰i na tom spisku, ali, paradoksalno, nisam sigurna da 膰u Bolanja 膷itati uskoro. Isto tako, sumnjam da 膰u ga preporu膷ivati na拧iroko iako je 膶ile no膰u najupe膷atljivija knjiga koju sam pro膷itala u ovoj godini, a me膽u prvih desetak najzanimljivijih meni poznatih.
Zanimljivo je i ovo: sude膰i prema Bolanju, Neruda nije ubijen (sigurno bi on to rekao 2003.), to u prilog onom otkopavanju njegovog groba na koje 膷ekamo poslednjih par godina. Ako je tu izneo istorijski ta膷nu informaciju, onda 膰e se ipostavi i da se Aljende samoubio, a nije raznet. No, to me manje zanima.
Read
December 11, 2023Things will never work out between me and Bolano. I do recognize his writing talent, his enormous erudition and his creative handling of literary legacies. This short story certainly proves that. It is a retrospective of a Chilean Opus Dei priest on his deathbed, a long, messy last breath so to speak, written as a stream-of-consciousness, mainly focusing on the literary world of Chile (Bolano's homeland). Bolano juggles with covert and overt references, in an endless stream of memories and stories, which mainly expose the hypocrisy of the Chilean elite (including literati), even dictator Pinochet briefly appears on the scene. Absolutely relevant, this satire. This is he kind of book that certainly can blow you away, but to me its trance-like narrative style and the messy accumulation of story elements are a bit too excessive to really captivate. For once no rating.
August 13, 2012
In 叠辞濒补帽辞'蝉 stream of consciousness narrative, he presents the deathbed confessions of Father Sebasti谩n Urrutia Lacroix, a Jesuit in Chile who also wrote as a literary critic and a poet. Through a spellbinding combination of feverish memories and anecdotes, dreams and nightmares recalled, and desperate justifications of past actions and inaction, Father Sebasti谩n leads the reader through an evocative and disturbing picture of life and art in Pinochet's Chile. I found the novel mesmerizing. In one long paragraph, 叠辞濒补帽辞 moves deftly through Father Sebasti谩n's life, using the priest's fears about his own choices and actions as a means to point an accusing finger at the Chilean literati, at modern society in Europe and the Americas, at all of us.
April 19, 2019
This short novel is first and foremost a pleasure to read, due to its easy, flowing style; its consistently coherent and engaging stream of consciousness. Beneath the surface, it is about literature, decline, personal ambition and legacy, all bound in a meditation on the troubled history of Chile. The novel is a brief, bright explosion - of language, and of ideas - producing subtle resonances and a surprising, hidden complexity.
February 9, 2020
C鈥櫭� tutto 叠辞濒补帽辞 nella notte di delirio di Sebasti谩n Urrutia Lacroix - prete, critico letterario e membro dell'Opus Dei - condensato in 100 pagine: le progressioni illuminanti, le frasi brevissime alternate ai momenti dilatati, i polis矛ndeti e le ripetizioni ossessive, i personaggi reali inseriti in una storia di fantasia, le situazioni surreali, la violenza (qui solo sfiorata) e la sconfitta, le forme dinamiche che ingannano spazio e tempo.
Mette insieme Pablo Neruda, Ernst J眉nger, un pittore guatemalteco che guarda tutto il tempo Parigi dalla sua mansarda, un calzolaio che vuole rendere omaggio agli eroi del suo popolo, i piccioni che cacano sulle chiese d鈥橢uropa, i preti falconieri, il regime cileno, Pinochet che studia il marxismo, le feste tra intellettuali con gli interrogatori e le torture nei seminterrati.
C'猫 soluzione a questo?
Splendido.
[80/100]
don Salvador, annuendo ancora una volta, senza capire ormai nient鈥檃ltro che frasi isolate del discorso in francese che J眉nger gli riversava addosso, intravide o pens貌 di intravedere una parte della verit脿, e in quella minima parte di verit脿 il guatemalteco era a Parigi e la guerra era cominciata o stava per cominciare e il guatemalteco aveva ormai preso l鈥檃bitudine di passare lunghe ore morte (o agonizzanti) davanti alla sua unica finestra contemplando il panorama di Parigi, e da quella contemplazione era sorto il Paesaggio di Citt脿 del Messico un鈥檕ra prima dell鈥檃lba, dalla contemplazione insonne di Parigi da parte del guatemalteco, e il quadro a suo modo era un altare per i sacrifici umani, e il quadro a suo modo era un gesto di tedio sovrano, e il quadro a suo modo era l鈥檃ccettazione di una sconfitta, non la sconfitta di Parigi n茅 la sconfitta della cultura europea allegramente pronta a incenerire s茅 stessa n茅 la sconfitta politica di certi ideali che il pittore vagamente condivideva, ma la sconfitta di s茅 stesso, un guatemalteco senza fama n茅 fortuna, deciso per貌 a farsi un nome nei cenacoli della Ville Lumi猫re, e la lucidit脿 con cui il guatemalteco accettava la sconfitta, una lucidit脿 che sottintendeva cose al di l脿 dell鈥檃spetto puramente personale e aneddotico, fece s矛 che al nostro diplomatico si rizzassero i peli sul braccio o, come si suol dire, gli venisse la pelle d鈥檕ca.
Mette insieme Pablo Neruda, Ernst J眉nger, un pittore guatemalteco che guarda tutto il tempo Parigi dalla sua mansarda, un calzolaio che vuole rendere omaggio agli eroi del suo popolo, i piccioni che cacano sulle chiese d鈥橢uropa, i preti falconieri, il regime cileno, Pinochet che studia il marxismo, le feste tra intellettuali con gli interrogatori e le torture nei seminterrati.
C'猫 soluzione a questo?
Splendido.
[80/100]
don Salvador, annuendo ancora una volta, senza capire ormai nient鈥檃ltro che frasi isolate del discorso in francese che J眉nger gli riversava addosso, intravide o pens貌 di intravedere una parte della verit脿, e in quella minima parte di verit脿 il guatemalteco era a Parigi e la guerra era cominciata o stava per cominciare e il guatemalteco aveva ormai preso l鈥檃bitudine di passare lunghe ore morte (o agonizzanti) davanti alla sua unica finestra contemplando il panorama di Parigi, e da quella contemplazione era sorto il Paesaggio di Citt脿 del Messico un鈥檕ra prima dell鈥檃lba, dalla contemplazione insonne di Parigi da parte del guatemalteco, e il quadro a suo modo era un altare per i sacrifici umani, e il quadro a suo modo era un gesto di tedio sovrano, e il quadro a suo modo era l鈥檃ccettazione di una sconfitta, non la sconfitta di Parigi n茅 la sconfitta della cultura europea allegramente pronta a incenerire s茅 stessa n茅 la sconfitta politica di certi ideali che il pittore vagamente condivideva, ma la sconfitta di s茅 stesso, un guatemalteco senza fama n茅 fortuna, deciso per貌 a farsi un nome nei cenacoli della Ville Lumi猫re, e la lucidit脿 con cui il guatemalteco accettava la sconfitta, una lucidit脿 che sottintendeva cose al di l脿 dell鈥檃spetto puramente personale e aneddotico, fece s矛 che al nostro diplomatico si rizzassero i peli sul braccio o, come si suol dire, gli venisse la pelle d鈥檕ca.
April 23, 2020
"...with time, vigilance tends to relax, because all horrors are dulled by routine."
.
From BY NIGHT IN CHILE By Roberto 叠辞濒补帽辞, translated from Spanish (Chile) by Chris Andrews, 2000 Spanish / 2003 English by @ndpublishing
The deathbed confession and memories of Catholic priest and literary critic, Sebasti谩n Urrutia Lacroix - but also an indictment of the Church, the bourgeoisie, and the US government for their role in Augusto Pinochet's miltary junta in 1973.
Urrutia Lacroix, in his last moments of life, recalls his own actions/inactions that lead to the deaths of many, and years of authoritarian control in his country.
"...life is a succession of misunderstandings, leading us on to the final truth, the only truth."
Stylistically, 叠辞濒补帽辞 constructs the entire novel(la) in one long paragraph, weaving in and out of time, dialogues mixed with scenes. Those used to 叠辞濒补帽辞'蝉 style won't be surprised - there was a single sentence in 2666 that continued over 4 pages, and some similar passages in The Savage Detectives, but it does take some training for the reader's eyes.
Heavy in metaphor, but realistic in style // A long interlude recalls Urraria Lacroix's travels around Europe to historical churches, and each parish priest he meets practices falconry. The raptor birds are described several times predating on pigeons/doves - the common birds. This metaphor of predator/prey was inherently political - foreshadowing the violent future for Chile, the Church's collusion, and subjugation/oppression of the common. There are reoccurring metaphors of a "wizened youth" - a young LaCroix who judges the old man - and reference to the Biblical figure of Judas, the Betrayer.
A stunning short work of historical fiction - fictional characters alongside real people, backdropped by true events.
As per usual, reading 叠辞濒补帽辞 sets ablaze this little fire inside to devote more time to poetry. Felt this same overwhelming urge after reading The Savage Detectives a few months ago (gosh, it was so good...) Dramatic, yes. But true for me, nonetheless.
Third 叠辞濒补帽辞 / enduring love.
.
From BY NIGHT IN CHILE By Roberto 叠辞濒补帽辞, translated from Spanish (Chile) by Chris Andrews, 2000 Spanish / 2003 English by @ndpublishing
The deathbed confession and memories of Catholic priest and literary critic, Sebasti谩n Urrutia Lacroix - but also an indictment of the Church, the bourgeoisie, and the US government for their role in Augusto Pinochet's miltary junta in 1973.
Urrutia Lacroix, in his last moments of life, recalls his own actions/inactions that lead to the deaths of many, and years of authoritarian control in his country.
"...life is a succession of misunderstandings, leading us on to the final truth, the only truth."
Stylistically, 叠辞濒补帽辞 constructs the entire novel(la) in one long paragraph, weaving in and out of time, dialogues mixed with scenes. Those used to 叠辞濒补帽辞'蝉 style won't be surprised - there was a single sentence in 2666 that continued over 4 pages, and some similar passages in The Savage Detectives, but it does take some training for the reader's eyes.
Heavy in metaphor, but realistic in style // A long interlude recalls Urraria Lacroix's travels around Europe to historical churches, and each parish priest he meets practices falconry. The raptor birds are described several times predating on pigeons/doves - the common birds. This metaphor of predator/prey was inherently political - foreshadowing the violent future for Chile, the Church's collusion, and subjugation/oppression of the common. There are reoccurring metaphors of a "wizened youth" - a young LaCroix who judges the old man - and reference to the Biblical figure of Judas, the Betrayer.
A stunning short work of historical fiction - fictional characters alongside real people, backdropped by true events.
As per usual, reading 叠辞濒补帽辞 sets ablaze this little fire inside to devote more time to poetry. Felt this same overwhelming urge after reading The Savage Detectives a few months ago (gosh, it was so good...) Dramatic, yes. But true for me, nonetheless.
Third 叠辞濒补帽辞 / enduring love.
September 25, 2017
With confidence & style, Bolano continues his attempt at crystallizing the exploits of the literati in Latin America鈥攈ere more specifically, in Chile. In very little (this is a novel composed solely of TWO paragraphs!) the stream of consciousness vacillates between various moods and anecdotes鈥攊t is indeed very similar to the transcendental musings of Auxilio Lacouture atop her fortress of the UNAM in 鈥淎mulet鈥�, a novel that is far superior, w-a-a-a-y more magical, than this one.
At times the Chilean writer (through his main character) seems elitist, carelessly name-dropping and highlighting national events which just happened to cross his (the Jesuit priest鈥檚) chic life at certain points (meetings with Pinochet, talks with Neruda). I am wary of Bolano鈥檚 ubermodern valentine to all the South American radical thinkers & innovators involved in the Arts (writing prose and poetry, above all). How come? Bragging rights are okay, in moderation, but that the entire book is a large, albeit disorganized and run-on rant asks way too much of the reader. It is fun to get lost in all this confusion鈥� the nebulousness is always an attractive facet, so that is a plus. But here I felt I missed more than what was originally intended for the reader 鈥渢o get.鈥� It is too personal, it has too many hidden facts which are always (Intelligently? Dumbly?) locked away from our common knowledge. The reader is immediately marginalized. You feel left out; sadly, truly uninitiated to a world seen only through the teeniest of peep holes.
At times the Chilean writer (through his main character) seems elitist, carelessly name-dropping and highlighting national events which just happened to cross his (the Jesuit priest鈥檚) chic life at certain points (meetings with Pinochet, talks with Neruda). I am wary of Bolano鈥檚 ubermodern valentine to all the South American radical thinkers & innovators involved in the Arts (writing prose and poetry, above all). How come? Bragging rights are okay, in moderation, but that the entire book is a large, albeit disorganized and run-on rant asks way too much of the reader. It is fun to get lost in all this confusion鈥� the nebulousness is always an attractive facet, so that is a plus. But here I felt I missed more than what was originally intended for the reader 鈥渢o get.鈥� It is too personal, it has too many hidden facts which are always (Intelligently? Dumbly?) locked away from our common knowledge. The reader is immediately marginalized. You feel left out; sadly, truly uninitiated to a world seen only through the teeniest of peep holes.
July 3, 2016
Dif铆cil para los que no son chilenos saber que los personajes de esta novela se inspiran en dos instituciones f谩cticas de la literatura chilena del S.XX: Iba帽es Langlois (Urrutia Lacroix), sacerdote del Opus Dei y cr铆tico literario sin contrapeso durante la dictadura; y Alone (Farewell), Hern谩n D铆az Arrieta, otro cr铆tico conservador "irrefutable", antecesor del primero.
Asimismo lo narrado en la novela no es m谩s que una ficci贸n sobre hechos y personajes estrictamente reales. Hechos que constituyen la pagina m谩s negra de la literatura chilena, escrita por siniestros funcionarios desde rincones a los que no llegaba la luz del sol, apenas la hiriente vibraci贸n de los fluorescentes: en una oficina de la redacci贸n de cultura del diario El Mercurio, o en los talleres literarios que oficiaba Mariana Callejas en su casa, que era adem谩s un centro de tortura:
鈥�...fueron varios los intelectuales y artistas que llegaron a la casa de Lo Curro en calidad de visitas. Uno de ellos fue Nicanor Parra, que lleg贸 por intermedio de Lafourcade. Eran las fiestas del 18 de septiembre de 1976 y por alguna raz贸n 鈥撯€渟eguramente de curados鈥�, el antipoeta se trenz贸 en una fuerte discusi贸n con un pintor de apellido Cisternas鈥�. (Mariana Callejas, citada en Wikipedia)
Que es lo com煤n a la narrativa de 叠辞濒补帽辞. Quiz谩s, el universo espiritual de los personajes. Guardando las distancias entre un entra帽able Ulises Lima y un despreciable Urrutia Lacroix, todos, poetas rabiosos, acad茅micos, cr铆ticos presuntuosos, o escritores nazis, parecen buscar sin sosiego algo que supera la capacidad del lenguaje para expresarlo.
Asimismo lo narrado en la novela no es m谩s que una ficci贸n sobre hechos y personajes estrictamente reales. Hechos que constituyen la pagina m谩s negra de la literatura chilena, escrita por siniestros funcionarios desde rincones a los que no llegaba la luz del sol, apenas la hiriente vibraci贸n de los fluorescentes: en una oficina de la redacci贸n de cultura del diario El Mercurio, o en los talleres literarios que oficiaba Mariana Callejas en su casa, que era adem谩s un centro de tortura:
鈥�...fueron varios los intelectuales y artistas que llegaron a la casa de Lo Curro en calidad de visitas. Uno de ellos fue Nicanor Parra, que lleg贸 por intermedio de Lafourcade. Eran las fiestas del 18 de septiembre de 1976 y por alguna raz贸n 鈥撯€渟eguramente de curados鈥�, el antipoeta se trenz贸 en una fuerte discusi贸n con un pintor de apellido Cisternas鈥�. (Mariana Callejas, citada en Wikipedia)
Que es lo com煤n a la narrativa de 叠辞濒补帽辞. Quiz谩s, el universo espiritual de los personajes. Guardando las distancias entre un entra帽able Ulises Lima y un despreciable Urrutia Lacroix, todos, poetas rabiosos, acad茅micos, cr铆ticos presuntuosos, o escritores nazis, parecen buscar sin sosiego algo que supera la capacidad del lenguaje para expresarlo.
January 4, 2018
"Chile, Chile. 驴C贸mo has podido cambiar tanto?, le dec铆a a veces, asomado a mi ventana abierta, mirando el reverbero de Santiago en la lejan铆a. 驴Qu茅 te han hecho? 驴Se han vuelto locos los chilenos? 驴Qui茅n tiene la culpa? Y otras veces, mientras caminaba por los pasillos del colegio o por los pasillos del peri贸dico le dec铆a: 驴Hasta cu谩ndo piensas seguir as铆, Chile? 驴Es que te vas a convertir en otra cosa? 驴En un monstruo que ya nadie reconocer谩?"
En tan solo dos p谩rrafos (uno regordete y de gran personalidad versus uno m谩s desnutrido en extensi贸n, pero efectivo), 叠辞濒补帽辞 construye magistralmente un relato que cuenta las reflexiones y recuerdos de un cura Opus Dei durante una noche de fiebre. Este recurre a la memoria para reconstruir su historia, cargada de frivolidad y silencios durante una 茅poca en la que ser callado y fr铆volo era, precisamente, un privilegio. La narraci贸n se torna r谩pidamente un viaje introspectivo que revisita los lugares de encuentro entre el cura y los c铆rculos literarios de la 茅poca, mientras que, como tel贸n de fondo, la dictadura militar en Chile se hace presente como un espacio latente, silencioso.
La reconstrucci贸n biogr谩fica del cura se siente mucho m谩s real con la ficcionalizaci贸n de figuras tan renombradas en Chile como Pablo Neruda o Pinochet, quienes no participan activamente del relato pero est谩n ah铆, igual de inmortalizados que en la realidad, para provocar un influjo de historicidad y veracidad al relato. 叠辞濒补帽辞 se toma la licencia de retratar a un Pinochet caricaturizado, quien se muestra como un letrado que ha le铆do Palomita blanca de Lafourcade y quiere aprender marxismo. Esta sensaci贸n de realidad se refuerza con el constante renombre del canon literario y el dep贸sito acad茅mico que, siento, est谩 muy bien representado con el personaje de Farewell.
M谩s all谩 de la pulcritud en la prosa de 叠辞濒补帽辞 y su genialidad como escritor, creo que lo m谩s importante de este libro radica en el significado que carga el protagonista de la novela. Siento que est谩 muy bien construido y representa la Historia (en may煤scula) de la dictadura, ese discurso oficial que por un lado calla a las v铆ctimas y, por otro, se convierte en c贸mplice producto de su propio silencio. La genialidad de 叠辞濒补帽辞 est谩 en encontrar una nueva forma de representar el horror, a trav茅s de la indiferencia y la frivolidad con que los organismos de poder (en este caso, el eclesi谩stico) esconden la vulnerabilidad de las v铆ctimas y aparentan sentirse tranquilos con lo ocurrido. Nocturno de Chile muestra la panor谩mica de esa voz oficial que cree estar en paz consigo misma pero que, tan pronto cuando las luces se apagan, se desarma y diluye entre la fiebre y los escombros de la noche. Hay que leer m谩s a 叠辞濒补帽辞, s铆 o s铆.
March 22, 2018
噩賲賷毓賳丕 賷賰賵賾賳 丕賳胤亘丕毓丕鬲 毓賳 丕賱賰鬲亘 賯亘賱 賯乇兀鬲賴丕貙 賯丿 鬲賰賵賳 丕賳胤亘丕毓丕鬲 爻賷卅丞 賵兀禺乇賶 噩賷丿丞貨 賱賰賳賴丕 鬲馗賱 丕賳胤亘丕毓丕鬲 亘賱丕 爻亘亘 賲賳胤賯賷 賵鬲亘賯賶 丕賱賯乇丕亍丞 賴賷 丕賱賵爻賷賱丞 丕賱賵丨賷丿丞 賱賱鬲兀賰丿 賲賳 氐丨丞 兀丨賰丕賲賳丕 賵丕賳胤亘丕毓鬲賳丕 鬲賱賰 兀賵 禺胤兀賴丕
賮賷 賰賱 賲乇丞 賰丕賳鬲 "賱賷賱 鬲卮賷賱賷" 鬲賲乇賾 賲賳 兀賲丕賲賷 賰賳鬲 兀卮毓乇 兀賳賴丕 爻鬲賰賵賳 鬲噩乇亘丞 噩賷丿丞貨 賵毓賱賶 丕賱乇睾賲 賲賳 兀賳賴丕 賮賷 賮鬲乇丞 賲賳 丕賱賮鬲乇丕鬲 賰丕賳鬲 鬲馗賴乇 兀賲丕賲賷 亘卮賰賱 賷賱賾丨 毓賱賷賾 賵賷禺亘乇賳賷 兀賳 賴賷丕 賯丿 丨丕賳 賵賯鬲 賯乇兀鬲賴丕貙 賰賳鬲 兀賯賵賲 亘鬲兀噩賷賱賴丕 賱丕 兀毓賱賲 賱賲賻貙 賴賱 賰賳鬲 兀丿禺乇賴丕 賱賵賯鬲 賰賴匕丕 兀卮毓乇 賮賷賴 亘賮鬲賵乇 卮丿賷丿 鬲噩丕賴 賯乇丕亍丞 丕賱乇賵丕賷丕鬲責 賱丕 兀丿乇賷貙 賱賰賳 氐睾乇 丨噩賲賴丕 賰丕賳 丿丕賮毓 賱賷賾 賴匕賴 丕賱賲乇丞 賱兀賱鬲賯胤賴丕 賵兀賯乇乇 賯乇丕卅鬲賴丕.
賵毓賱賶 丕賱乇睾賲 賲賳 氐睾乇 丨噩賲賴丕貙 賰賳鬲 兀卮毓乇 賮賷 賳賯丕胤 賰孬賷乇丞 亘丕賱鬲賷賴 賵兀丨賷丕賳賸丕 亘丕賱賲賱賱貙 賰丕賳鬲 賲賳 賵賯鬲 賱丌禺乇 鬲噩匕亘賳賷 卮丕毓乇賷丞 丕賱賱睾丞 賮丨鬲賶 毓賱賶 丕賱乇睾賲 賲賳 兀賳 丕賱鬲乇噩賲丞 鬲賳鬲賯氐 賰孬賷乇賸丕 賲賳 噩賲丕賱賷丕鬲 丕賱賳氐 賱賰賳 賮賷 亘毓囟 丕賱噩賲賱 賷賲賰賳 兀賳 鬲丿乇賰 亘賱丕 毓賳丕亍 賰孬賷乇 兀賳 丕賱賰丕鬲亘 賴賵 卮丕毓乇 賯亘賱 兀賳 賷賰賵賳 乇賵丕卅賷貙 賵賴賵 賲丕 賵噩丿鬲賴 丨賯賷賯賷 亘丕賱賮毓賱 丨賷賳 賯乇兀鬲 毓賳 丕賱賰丕鬲亘 亘毓丿 兀賳 丕賳賴賷鬲 丕賱乇賵丕賷丞.
丕賱乇賵丕賷丞 鬲丨賰賷 毓賳 丕賱賯丿賷爻 丕賱卮丕亘 爻亘丕爻鬲賷丕賳 兀賵乇丕鬲賷丕貙 丕賱賲賴鬲賲 亘丕賱卮毓乇 賵丕賱兀丿亘 賵賱丿賷賴 亘毓囟 丕賱兀氐丿賯丕亍 賲賳 丕賱卮毓乇丕亍貙 賷丨賰賷 兀丨丕丿賷孬賴 賲毓 氐丿賷賯賴 丕賱卮丕毓乇 "賮丕乇賵賷賱" 賰賱丕賴賲丕 賷毓卮賯 賳賷乇賵丿丕 賵賷卮毓乇 亘丕賱丨夭賳 丕賱毓賲賷賯 毓賱賶 鬲卮賷賱賷貙 兀丨賷丕賳賸丕 兀禺乇賶 賷丨賰賷 兀賵乇丕鬲賷丕 兀丨丕丿賷孬 賲毓 "丕賱卮丕亘 丕賱賴賻乇賲" 匕賱賰 丕賱卮亘丨 丕賱匕賷 丕禺鬲乇毓賴 兀賵乇丕鬲賷丕 賰賷 賷賰賵賳 氐丿賷賯賴 賮賷 賱丨馗丕鬲 賵丨丿鬲賴 賵賴匕賷丕賳賴貙 賷丨賰賷 兀賷囟賸丕 賯氐氐賸丕 賲賳 賴賳丕 賵賴賳丕賰貙 毓賳 匕賰乇賷丕鬲賴 賲毓 丕賱爻賱胤丞 賵賲毓 兀氐丨丕亘 丕賱氐丕賱賵賳丕鬲 丕賱兀丿亘賷丞.
賮賷 亘毓囟 丕賱兀丨賷丕賳 賰賳鬲 丕賳丿賲噩 賲毓 丨賰丕賷丕鬲賴 賵賮賷 丕賱亘毓囟 丕賱丌禺乇 賰賳鬲 兀卮毓乇 亘丕賱鬲賷賴貙 賵賱丕 兀丿乇賷 丨賯賸丕 兀賴匕丕 爻亘亘賴 匕賱賰 丕賱丨馗 丕賱爻賷亍 賲毓 丕賱賰鬲亘 丕賱匕賷 賷賱丕夭賲賳賷 賲賳匕 賳賴丕賷丞 丕賱毓丕賲 丕賱賲丕囟賷 兀賲 賴賷 賮賯胤 乇賵丕賷丞 賱賲 鬲購賰鬲亘 賱賷賾
賱賰賳賴丕 賮賷 丕賱賲丨氐賱丞 賱賲 鬲賰賳 兀亘丿賸丕 賰賲丕 鬲賵賯毓鬲.
鬲賲賾鬲.
賮賷 賰賱 賲乇丞 賰丕賳鬲 "賱賷賱 鬲卮賷賱賷" 鬲賲乇賾 賲賳 兀賲丕賲賷 賰賳鬲 兀卮毓乇 兀賳賴丕 爻鬲賰賵賳 鬲噩乇亘丞 噩賷丿丞貨 賵毓賱賶 丕賱乇睾賲 賲賳 兀賳賴丕 賮賷 賮鬲乇丞 賲賳 丕賱賮鬲乇丕鬲 賰丕賳鬲 鬲馗賴乇 兀賲丕賲賷 亘卮賰賱 賷賱賾丨 毓賱賷賾 賵賷禺亘乇賳賷 兀賳 賴賷丕 賯丿 丨丕賳 賵賯鬲 賯乇兀鬲賴丕貙 賰賳鬲 兀賯賵賲 亘鬲兀噩賷賱賴丕 賱丕 兀毓賱賲 賱賲賻貙 賴賱 賰賳鬲 兀丿禺乇賴丕 賱賵賯鬲 賰賴匕丕 兀卮毓乇 賮賷賴 亘賮鬲賵乇 卮丿賷丿 鬲噩丕賴 賯乇丕亍丞 丕賱乇賵丕賷丕鬲責 賱丕 兀丿乇賷貙 賱賰賳 氐睾乇 丨噩賲賴丕 賰丕賳 丿丕賮毓 賱賷賾 賴匕賴 丕賱賲乇丞 賱兀賱鬲賯胤賴丕 賵兀賯乇乇 賯乇丕卅鬲賴丕.
賵毓賱賶 丕賱乇睾賲 賲賳 氐睾乇 丨噩賲賴丕貙 賰賳鬲 兀卮毓乇 賮賷 賳賯丕胤 賰孬賷乇丞 亘丕賱鬲賷賴 賵兀丨賷丕賳賸丕 亘丕賱賲賱賱貙 賰丕賳鬲 賲賳 賵賯鬲 賱丌禺乇 鬲噩匕亘賳賷 卮丕毓乇賷丞 丕賱賱睾丞 賮丨鬲賶 毓賱賶 丕賱乇睾賲 賲賳 兀賳 丕賱鬲乇噩賲丞 鬲賳鬲賯氐 賰孬賷乇賸丕 賲賳 噩賲丕賱賷丕鬲 丕賱賳氐 賱賰賳 賮賷 亘毓囟 丕賱噩賲賱 賷賲賰賳 兀賳 鬲丿乇賰 亘賱丕 毓賳丕亍 賰孬賷乇 兀賳 丕賱賰丕鬲亘 賴賵 卮丕毓乇 賯亘賱 兀賳 賷賰賵賳 乇賵丕卅賷貙 賵賴賵 賲丕 賵噩丿鬲賴 丨賯賷賯賷 亘丕賱賮毓賱 丨賷賳 賯乇兀鬲 毓賳 丕賱賰丕鬲亘 亘毓丿 兀賳 丕賳賴賷鬲 丕賱乇賵丕賷丞.
丕賱乇賵丕賷丞 鬲丨賰賷 毓賳 丕賱賯丿賷爻 丕賱卮丕亘 爻亘丕爻鬲賷丕賳 兀賵乇丕鬲賷丕貙 丕賱賲賴鬲賲 亘丕賱卮毓乇 賵丕賱兀丿亘 賵賱丿賷賴 亘毓囟 丕賱兀氐丿賯丕亍 賲賳 丕賱卮毓乇丕亍貙 賷丨賰賷 兀丨丕丿賷孬賴 賲毓 氐丿賷賯賴 丕賱卮丕毓乇 "賮丕乇賵賷賱" 賰賱丕賴賲丕 賷毓卮賯 賳賷乇賵丿丕 賵賷卮毓乇 亘丕賱丨夭賳 丕賱毓賲賷賯 毓賱賶 鬲卮賷賱賷貙 兀丨賷丕賳賸丕 兀禺乇賶 賷丨賰賷 兀賵乇丕鬲賷丕 兀丨丕丿賷孬 賲毓 "丕賱卮丕亘 丕賱賴賻乇賲" 匕賱賰 丕賱卮亘丨 丕賱匕賷 丕禺鬲乇毓賴 兀賵乇丕鬲賷丕 賰賷 賷賰賵賳 氐丿賷賯賴 賮賷 賱丨馗丕鬲 賵丨丿鬲賴 賵賴匕賷丕賳賴貙 賷丨賰賷 兀賷囟賸丕 賯氐氐賸丕 賲賳 賴賳丕 賵賴賳丕賰貙 毓賳 匕賰乇賷丕鬲賴 賲毓 丕賱爻賱胤丞 賵賲毓 兀氐丨丕亘 丕賱氐丕賱賵賳丕鬲 丕賱兀丿亘賷丞.
賮賷 亘毓囟 丕賱兀丨賷丕賳 賰賳鬲 丕賳丿賲噩 賲毓 丨賰丕賷丕鬲賴 賵賮賷 丕賱亘毓囟 丕賱丌禺乇 賰賳鬲 兀卮毓乇 亘丕賱鬲賷賴貙 賵賱丕 兀丿乇賷 丨賯賸丕 兀賴匕丕 爻亘亘賴 匕賱賰 丕賱丨馗 丕賱爻賷亍 賲毓 丕賱賰鬲亘 丕賱匕賷 賷賱丕夭賲賳賷 賲賳匕 賳賴丕賷丞 丕賱毓丕賲 丕賱賲丕囟賷 兀賲 賴賷 賮賯胤 乇賵丕賷丞 賱賲 鬲購賰鬲亘 賱賷賾
賱賰賳賴丕 賮賷 丕賱賲丨氐賱丞 賱賲 鬲賰賳 兀亘丿賸丕 賰賲丕 鬲賵賯毓鬲.
鬲賲賾鬲.
January 11, 2025
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August 20, 2012
There are a pair of immediate observations concerning By Night in Chile. The first involvees its lyrical quality; this is more a cycle of poems than mere standard novella. Episodes unfold and the focus clips along back to the Narrator, who isn't as unreliable as I first guessed. The second acute sense from the book is one of dread. There are a number of darkened hallways, closed doors, and isolated hilltops in the book. One gathers gradually that it isn't sage to look around too closely.
Confining itself to the Gothic whsiper, By Night in Chile does echo in one trope. There's certainly depth and poetic violence; what I think seperates Bolano is the imaginary bibliography; that Borgesian codex of spectral works which exist in world just so close yet distant from our own dusty trevails.
Confining itself to the Gothic whsiper, By Night in Chile does echo in one trope. There's certainly depth and poetic violence; what I think seperates Bolano is the imaginary bibliography; that Borgesian codex of spectral works which exist in world just so close yet distant from our own dusty trevails.
September 6, 2017
乇賵亘乇鬲賵 亘賵賱丕賳蹖賵 爻丕賱 郾酃鄣鄢 丿乇 爻丕賳鬲蹖丕诏賵賽 卮蹖賱蹖 賲鬲賵賱丿 卮丿 賵 爻丕賱 鄄郯郯鄢 丿乇 倬賳噩丕賴 爻丕賱诏蹖 亘乇 丕孬乇 賳丕乇爻丕蹖蹖 讴亘丿 丿乇 丕爻倬丕賳蹖丕 丕夭 丿賳蹖丕 乇賮鬲. 倬丿乇卮 乇丕賳賳丿賴 蹖 讴丕賲蹖賵賳 賵 賲卮鬲 夭賳 賵 賲丕丿乇卮 賲毓賱賲 賲丿乇爻賴 亘賵丿. 丿乇 賳賵噩賵丕賳蹖 賲丿乇爻賴 乇丕 鬲乇讴 讴乇丿貙 趩賵賳 賲蹖 禺賵丕爻鬲 賮賯胤 讴鬲丕亘 亘禺賵丕賳丿貙 讴鬲丕亘 賴丕蹖蹖 讴賴 禺蹖賱蹖 卮丕賳 乇丕 丕夭 讴鬲丕亘賮乇賵卮蹖 賴丕 賲蹖 丿夭丿蹖丿. 丕賵 讴賴 丿乇 倬丕賳夭丿賴 爻丕賱诏蹖 賴賲乇丕賴 禺丕賳賵丕丿賴 丕卮 卮蹖賱蹖 乇丕 鬲乇讴 讴乇丿貙 丿乇 亘蹖爻鬲 爻丕賱诏蹖貙 賴賲夭賲丕賳 亘丕 讴賵丿鬲丕蹖 倬蹖賳賵卮賴貙 亘賴 丕蹖賳 讴卮賵乇 亘丕夭诏卮鬲. 亘賴 诏賮鬲賴 蹖 禺賵丿卮 丿乇 丕蹖賳 爻賮乇 丿爻鬲诏蹖乇 卮丿 賵 趩賳丿 乇賵夭蹖 丿乇 夭賳丿丕賳 賲丕賳丿貙 賵 亘賴 胤賵乇 丕鬲賮丕賯蹖 鬲賵爻胤 丿賵 丿賵爻鬲 賯丿蹖賲蹖 丌夭丕丿 卮丿貨 讴賴 丕賱亘鬲賴 丿乇 賵丕賯毓蹖鬲賽 丕蹖賳 乇賵丕蹖鬲 鬲乇丿蹖丿 丕爻鬲. 倬爻 丕夭 鬲乇讴 卮蹖賱蹖 亘丕賯蹖 毓賲乇卮 乇丕 丿乇 讴卮賵乇賴丕蹖 賲禺鬲賱賮 夭賳丿诏蹖 讴乇丿 賵 亘乇丕蹖 丿乇丌賵乇丿賳 禺乇噩 夭賳丿诏蹖 亘賴 賴乇 讴丕乇蹖貙 賲孬賱 賳诏賴亘丕賳蹖 賵 馗乇賮 卮爻鬲賳貙 丿爻鬲 夭丿. 丕賵 丿乇 丕氐賱 禺賵丿卮 乇丕 卮丕毓乇 賲蹖 丿丕賳爻鬲 賵 夭賲丕賳蹖 讴賴 亘趩賴 丿丕乇 卮丿貙 趩賵賳 賮讴乇 讴乇丿 丕夭 乇丕賴 賳孬乇賳賵蹖爻蹖 亘賴鬲乇 賲蹖 鬲賵丕賳丿 倬賵賱 丿乇亘蹖丕賵乇丿貙 卮乇賵毓 讴乇丿 亘賴 丿丕爻鬲丕賳 賳賵卮鬲賳 賵 賮乇爻鬲丕丿賳 卮丕賳 亘乇丕蹖 賲爻丕亘賯丕鬲 賵 賲噩賱賴 賴丕. 賵 賴賲 丕蹖賳 丿丕爻鬲丕賳 賴丕 丕賵 乇丕 鬲亘丿蹖賱 讴乇丿 亘賴 賲賴賲 鬲乇蹖賳 賳賵蹖爻賳丿賴 蹖 賳爻賱 禺賵丿卮 丿乇 丌賲乇蹖讴丕蹖 賱丕鬲蹖賳貙 讴賴 噩賵丕蹖夭 賲鬲毓丿丿蹖 乇丕 亘賴 禺氐賵氐 亘毓丿 丕夭 賲乇诏 賳氐蹖亘卮 讴乇丿貙 賳賵蹖爻賳丿賴 丕蹖 讴賴 丕賲乇賵夭賴 毓丿賴 丕蹖 丕賴賲蹖鬲卮 乇丕 賳賴 賮賯胤 亘乇丕蹖 丕丿亘蹖丕鬲 丕賲乇蹖讴丕蹖 賱丕鬲蹖賳貙 讴賴 丨鬲丕 亘乇丕蹖 丕丿亘蹖丕鬲 噩賴丕賳 賴賲 倬丕蹖 丕賴賲蹖鬲 讴丕亘乇蹖賱 诏丕乇爻蹖丕 賲丕乇讴夭 賲蹖 丿丕賳賳丿. 丕蹖賳 禺賵丿 倬丕乇丕丿賵讴爻 毓噩蹖亘蹖 丕爻鬲 亘乇丕蹖 亘賵賱丕賳蹖賵賽 爻乇讴卮蹖 讴賴 丕睾賱亘 賳賵蹖爻賳丿诏丕賳 亘爻蹖丕乇 賲卮賴賵乇蹖 趩賵賳 賲丕乇讴夭 賵 丌賱賳丿賴 賵 倬丕夭 乇丕 亘賴 賲爻禺乇賴 賲蹖 诏乇賮鬲 賵 丨鬲丕 诏乇賵賴蹖 鬲卮讴蹖賱 丿丕丿賴 亘賵丿 讴賴 噩賱爻丕鬲 卮毓乇禺賵丕賳蹖 丌賳 賴丕 乇丕 亘賴 賴賲 亘乇蹖夭丿.
丕賵 亘賵乇禺爻 乇丕 賲丨亘賵亘 鬲乇蹖賳 賳賵蹖爻賳丿賴 蹖 禺賵丿 賲蹖 丿丕賳丿 賵 賲毓鬲賯丿 丕爻鬲 賳賵蹖爻賳丿賴鈥屬囏� 丿賵噩賵乇賳丿: 丌賳鈥屬囏й屰� 讴賴 賮賯胤 賳賵蹖爻賳丿诏丕賳 賲賯賱丿 亘賴 賵噩賵丿 賲蹖鈥屫①堌辟嗀� 賵 丌賳鈥屬囏� 讴賴 乇丕賴 乇丕 亘乇丕蹖 讴丕卮賮丕賳 賵 鬲噩乇亘蹖丕鬲 鬲丕夭賴 亘丕夭 賲蹖鈥屭┵嗁嗀�. 禺賵丿卮 亘賵乇禺爻 乇丕 丿乇 丿爻鬲賴鈥屰� 丿賵賲 賯乇丕乇 賲蹖鈥屫囏� 賵 丕賱亘鬲賴 亘丕蹖丿 禺賵丿卮 乇丕 賴賲 丿乇 賴賲蹖賳 丿爻鬲賴鈥屰� 丿賵賲 賯乇丕乇 丿丕丿.
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亘賵賱丕賳蹖賵 丿乇 讴鬲丕亘 卮亘丕賳賴鈥屰� 卮蹖賱蹖 丿乇 賯丕賱亘 讴卮蹖卮蹖 讴賴 亘賴 丕丿亘蹖丕鬲 毓賱丕賯賴 丿丕乇丿 賵 亘丕 丕爻賲 賲爻鬲毓丕乇 亘賴 賳賯丿 丌孬丕乇 丕丿亘蹖 夭賲丕賳 賲蹖鈥屬矩必ж藏� 丕夭 丕賵囟丕毓 賳丕 亘賴鈥� 爻丕賲丕賳 讴卮賵乇 賵 噩賳诏 賲蹖鈥屭堐屫�. 丕夭 賳賵蹖爻賳丿诏丕賳 亘夭乇诏 卮蹖賱蹖丕蹖蹖 蹖丕丿 賲蹖鈥屭┵嗀� 讴賴 丿蹖诏乇 賴蹖趩 讴爻 亘賴 禺丕胤乇卮丕賳 賳賲蹖鈥屫①堌必�. 丕夭 乇卅蹖爻鈥屫呝囐堌辟囏й� 亘蹖鈥屫迟堌ж� 卮蹖賱蹖 蹖丕丿 賲蹖鈥屭┵嗀� 讴賴 蹖讴蹖卮丕賳 賴蹖趩 賳禺賵丕賳丿賴 亘賵丿 丨鬲蹖 丕賳噩蹖賱 乇丕 ( 賵 丕夭 賯囟丕 蹖讴蹖 丕夭 賲賵爻爻丕賳 丨匕亘 丿賲賵讴乇丕鬲 賲爻蹖丨蹖 亘賵丿賴!) 賵 丿蹖诏乇蹖 讴賴 賮賯胤 乇賲丕賳鈥屬囏й� 毓丕卮賯丕賳賴 賲蹖鈥屫堌з嗀�! 讴卮蹖卮 丕夭 鬲噩乇亘蹖丕鬲 丨囟賵乇卮 丿乇 禺丕賳賴鈥屫й� 賲蹖鈥屭堐屫� 讴賴 賲蹖夭亘丕賳 賲丨丕賮賱 丕丿亘蹖 卮亘丕賳賴鈥� 亘賵丿 丿乇 丨丕賱蹖 讴賴 丿乇 賴賲丕賳 夭賲丕賳 丿乇 爻乇丿丕亘 禺丕賳賴 丕夭 夭賳丿丕賳蹖丕賳 亘丕夭噩賵蹖蹖 丕賳噩丕賲 賲蹖鈥屫簇� 賵 诏丕賴丕賸 亘乇禺蹖 讴卮鬲賴 賲蹖鈥屫簇嗀�. 丿乇 賵氐賮 夭賳 賲蹖夭亘丕賳貙 賲丕乇蹖丕 讴丕賳丕賱爻貙 丿乇 丕賳鬲賯丕丿 亘賴 丕賮乇丕丿 乇賵卮賳鈥屬佢┴辟嗁呚й� 夭賲丕賳 賲蹖鈥屬嗁堐屫池�:
丿賵爻鬲鈥屫ж� 賴賳乇 亘賵丿. 丿賵爻鬲 丿丕卮鬲 賴賲丿賲 賳賯丕卮丕賳貙 倬乇賮賵乇賲賳爻鈥屫⒇必€� 讴丕乇丕賳 賵 賵蹖丿卅賵丌乇鬲鈥� 讴丕乇丕賳 卮賵丿貙 卮丕蹖丿 趩賵賳 爻賵丕丿卮丕賳 讴賲鬲乇 丕夭 賳賵蹖爻賳丿诏丕賳 亘賵丿 蹖丕 丕賵 丕蹖賳胤賵乇 賲蹖鈥屫屫�. 亘毓丿 賯丕鬲蹖 賳賵蹖爻賳丿賴鈥屬囏� 卮丿 賵 丿蹖丿 丌賳鈥屬囏� 賴賲 趩賳丿丕賳 亘丕爻賵丕丿 賳蹖爻鬲賳丿. 讴蹖鈥� 賲蹖鈥屫з嗀� 趩賯丿乇 禺蹖丕賱卮 丌爻賵丿賴 卮丿. 丌爻賵丿诏蹖鈥屫й� 禺丕氐 卮蹖賱蹖丕蹖蹖鈥屬囏�. 丕夭 賲丕 賲乇丿賲賽 丕蹖賳 讴卮賵乇 禺丿丕夭丿賴 丕賳诏卮鬲鈥屫促呚ж臂� 賵丕賯毓丕賹 亘丕賮乇賴賳诏蹖賲貙 亘賯蹖賴 丕夭 丿賲 丕亘賱賴鈥屫з嗀�. 丨鬲蹖 丌丿賲鈥屬囏й� 禺賵卮鈥屬呚簇必� 賵 丿賵爻鬲鈥屫ж簇嗃�.
亘賵賱丕賳蹖賵 讴卮蹖卮 賵 卮丕毓乇 卮蹖賱蹖丕蹖蹖鈥屫й� 乇丕 乇賵亘賴 乇賵蹖 賲丕 賳卮丕賳丿賴 丕爻鬲 讴賴 夭蹖乇 亘丕乇 鬲賲丕賲 丕蹖賳 丌卮賵亘 賴丕 乇賵丨蹖賴 蹖 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 賵 卮毓乇賴丕蹖蹖 讴賴 賲蹖 爻乇賵丿賴貙 丕夭 讴賱丕爻蹖讴 賵 丌倬賵賱賵蹖蹖 丿趩丕乇 丨爻 賵 丨丕賱蹖 丕賮爻丕乇诏爻蹖禺鬲賴 賵 丿蹖賵賳蹖 爻蹖丕蹖蹖 賲蹖 卮賵丿 賵 丿爻鬲 亘賴 賳賵卮鬲賳 賲賯丕賱賴 賴丕蹖 丕賳鬲賯丕丿蹖 賲蹖 夭賳丿 賵 丕夭
毓噩夭貙 鬲乇爻貙 丕乇丕丿賴 賲囟丨讴 賵 讴爻丕賱鬲 亘蹖 丨丿賵丕賳丿丕夭賴 蹖 賲乇丿賲 卮蹖賱蹖丕蹖蹖 賲蹖 賳賵蹖爻丿 讴賴 亘賴 诏賮鬲賴 蹖 禺賵丿卮 丕賳诏丕乇 丿丕卮鬲 丿乇 亘蹖丕亘丕賳蹖 丿丕丿 賲蹖 夭丿 賵 鬲賳賴丕 讴爻丕賳蹖 賮乇蹖丕丿賴丕 賵 诏丕賴 夭賵夭賴 賴丕蹖卮 乇丕 賲蹖 卮賳蹖丿賳丿 讴賴 賲毓賳丕蹖 賳賵卮鬲賴 賴丕蹖卮 乇丕 賲蹖 賮賴賲蹖丿賳丿 賵 趩賳丕賳 讴爻丕賳蹖 夭蹖丕丿 賳亘賵丿賳丿.
亘賵賱丕賳蹖賵 卮蹖賱蹖 乇丕 丿乇 丌賳 丿賵乇丕賳 亘賴 丿乇禺鬲 丕乇睾賵丕賳 蹖丕 賴賲丕賳 丿乇禺鬲 蹖賴賵丿丕 鬲卮亘蹖賴 賲蹖鈥屭┵嗀�. "丿乇禺鬲蹖 亘蹖 亘乇诏 賵 賲乇丿賴鈥屭堎� 讴賴 乇蹖卮賴 丿乇 丕毓賲丕賯賽 禺丕讴賽 爻蹖丕賴 丿丕卮鬲貙 禺丕讴賽 爻蹖丕賴賽 睾賳蹖賽 賲丕 讴賴 讴乇賲鈥屫и┷屸€屬囏й� 趩賴賱 爻丕賳鬲蹖鈥屬呚臂屸€屫ж� 卮賴乇鬲蹖 丿丕乇賳丿."
讴卮蹖卮貙 卮丕毓乇 賵 賲賳鬲賯丿 亘夭乇诏賽 賲丕 丿乇 爻乇丕爻乇 丿丕爻鬲丕賳 鬲賵賴賲丕鬲蹖 丕夭 丿蹖丿賳 蹖讴 噩賵丕賳讴 鬲讴蹖丿賴 丿丕乇丿. 噩賵丕賳讴 鬲讴蹖丿賴鈥屫й� 讴賴 亘賴 丕賵 賲蹖鈥屫嗀� 賳夭丿蹖讴 賲蹖鈥屫促堌� 賳爻亘鬲 亘賴 丕賵 賳丕亘丕賵乇 丕爻鬲 賵 丿乇賳賴丕蹖鬲 丿賵乇 賲蹖鈥屫促堌� 賵 丿乇 爻胤乇賴丕蹖 倬丕蹖丕賳蹖 亘賵賱丕賳蹖賵 亘賴 賲丕 賲蹖鈥屭堐屫� 讴賴 噩賵丕賳讴 鬲讴蹖丿賴 禺賵丿 丕賵 丕爻鬲貙 爻亘丕爻鬲蹖丕賳 卅賵乇乇賵鬲蹖丕 賱丕讴乇賵丌貙 讴卮蹖卮貙 卮丕毓乇 賵 賲賳鬲賯丿 亘夭乇诏 卮蹖賱蹖丕蹖蹖.
"丕夭 禺賵丿賲 賲蹖鈥屬矩必迟� 噩賵丕賳讴 鬲讴蹖丿賴 讴噩丕 丕爻鬲責 趩乇丕 乇賮鬲責 丌乇丕賲 丌乇丕賲 丨賯蹖賯鬲 亘賴 爻丕賳賽 噩爻丿賽 賲乇丿賴鈥屫й� 倬丿蹖丿丕乇 賲蹖鈥屫促堌�. 噩爻丿賽 賲乇丿賴 丕蹖 讴賴 丕夭 鬲賴 丿乇蹖丕 蹖丕 讴賮 賲噩乇丕蹖 丌亘 亘丕賱丕 賲蹖 丌蹖丿. 爻丕蹖賴 丕卮 乇丕 賲蹖 亘蹖賳賲 讴賴 亘丕賱丕 賲蹖 丌蹖丿. 爻丕蹖賴 丕卮 爻賵爻賵 賲蹖 夭賳丿. 爻丕蹖賴 丕卮 噩賵乇蹖 亘丕賱丕 賲蹖 丌蹖丿 讴賴 丕賳诏丕乇 丕夭 鬲倬賴 丕蹖 亘乇 爻蹖丕乇賴 丕蹖 賮爻蹖賱蹖 亘丕賱丕 賲蹖 讴卮丿. 亘毓丿 丿乇 鬲丕乇蹖讴 乇賵卮賳 亘蹖賲丕乇蹖 丕賲 趩賴乇賴 蹖 鬲賳丿禺賵 賵 賱胤蹖賮 丕卮 乇丕 賲蹖 亘蹖賳賲 賵 丕夭 禺賵丿賲 賲蹖 倬乇爻賲: 賲賳 噩賵丕賳讴 鬲讴蹖丿賴 丕賲責 鬲乇爻蹖 卮丿蹖丿 丿丕賲賳 诏蹖乇賲 賲蹖 卮賵丿 賵 賲蹖倬乇爻賲 賲賳 賴賲丕賳 噩賵丕賳讴 鬲讴蹖丿賴 丕賲 讴賴 賮乇蹖丕丿賴丕卮 亘賴 诏賵卮 丕丨丿蹖 賳賲蹖 乇爻丿責 丌賳 噩賵丕賳讴 鬲讴蹖丿賴鈥屰� 亘丿亘禺鬲 賲賳賲責 亘毓丿 趩賴乇賴 賴丕 亘丕 爻乇毓鬲蹖 丿賵乇丕賳蹖 丕夭 亘乇丕亘乇 趩卮賲賴丕賲 賲蹖鈥屭柏必�. 趩賴乇賴鈥屰� 丌賳鈥屬囏� 讴賴 爻鬲丕蹖卮鈥屫簇з� 讴乇丿賴鈥屫з呚� 丿賵爻鬲鈥屫簇з� 丿丕卮鬲賴鈥屫з呚� 丕夭卮丕賳 亘蹖夭丕乇 亘賵丿賴鈥屫з呚� 亘賴卮丕賳 乇卮讴 亘乇丿賴鈥屫з� 賵 禺賵丕乇卮丕賳 卮賲乇丿賴鈥屫з�. 趩賴乇賴鈥屬囏й屰� 讴賴 丕夭卮丕賳 丨賲丕蹖鬲 讴乇丿賴鈥屫з呚� 亘賴卮丕賳 丨賲賱賴 讴乇丿賴鈥屫з呚� 禺賵丿賲 乇丕 丿乇 亘乇丕亘乇卮丕賳 賲賯丕賵賲 讴乇丿賴鈥屫з� 賵 亘蹖賴賵丿賴 倬蹖鈥屫簇з� 亘賵丿賴鈥屫з�.
亘毓丿 鬲賵賮丕賳賽 诏購賴 丌睾丕夭 賲蹖鈥屫促堌�."
丕賵 亘賵乇禺爻 乇丕 賲丨亘賵亘 鬲乇蹖賳 賳賵蹖爻賳丿賴 蹖 禺賵丿 賲蹖 丿丕賳丿 賵 賲毓鬲賯丿 丕爻鬲 賳賵蹖爻賳丿賴鈥屬囏� 丿賵噩賵乇賳丿: 丌賳鈥屬囏й屰� 讴賴 賮賯胤 賳賵蹖爻賳丿诏丕賳 賲賯賱丿 亘賴 賵噩賵丿 賲蹖鈥屫①堌辟嗀� 賵 丌賳鈥屬囏� 讴賴 乇丕賴 乇丕 亘乇丕蹖 讴丕卮賮丕賳 賵 鬲噩乇亘蹖丕鬲 鬲丕夭賴 亘丕夭 賲蹖鈥屭┵嗁嗀�. 禺賵丿卮 亘賵乇禺爻 乇丕 丿乇 丿爻鬲賴鈥屰� 丿賵賲 賯乇丕乇 賲蹖鈥屫囏� 賵 丕賱亘鬲賴 亘丕蹖丿 禺賵丿卮 乇丕 賴賲 丿乇 賴賲蹖賳 丿爻鬲賴鈥屰� 丿賵賲 賯乇丕乇 丿丕丿.
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亘賵賱丕賳蹖賵 丿乇 讴鬲丕亘 卮亘丕賳賴鈥屰� 卮蹖賱蹖 丿乇 賯丕賱亘 讴卮蹖卮蹖 讴賴 亘賴 丕丿亘蹖丕鬲 毓賱丕賯賴 丿丕乇丿 賵 亘丕 丕爻賲 賲爻鬲毓丕乇 亘賴 賳賯丿 丌孬丕乇 丕丿亘蹖 夭賲丕賳 賲蹖鈥屬矩必ж藏� 丕夭 丕賵囟丕毓 賳丕 亘賴鈥� 爻丕賲丕賳 讴卮賵乇 賵 噩賳诏 賲蹖鈥屭堐屫�. 丕夭 賳賵蹖爻賳丿诏丕賳 亘夭乇诏 卮蹖賱蹖丕蹖蹖 蹖丕丿 賲蹖鈥屭┵嗀� 讴賴 丿蹖诏乇 賴蹖趩 讴爻 亘賴 禺丕胤乇卮丕賳 賳賲蹖鈥屫①堌必�. 丕夭 乇卅蹖爻鈥屫呝囐堌辟囏й� 亘蹖鈥屫迟堌ж� 卮蹖賱蹖 蹖丕丿 賲蹖鈥屭┵嗀� 讴賴 蹖讴蹖卮丕賳 賴蹖趩 賳禺賵丕賳丿賴 亘賵丿 丨鬲蹖 丕賳噩蹖賱 乇丕 ( 賵 丕夭 賯囟丕 蹖讴蹖 丕夭 賲賵爻爻丕賳 丨匕亘 丿賲賵讴乇丕鬲 賲爻蹖丨蹖 亘賵丿賴!) 賵 丿蹖诏乇蹖 讴賴 賮賯胤 乇賲丕賳鈥屬囏й� 毓丕卮賯丕賳賴 賲蹖鈥屫堌з嗀�! 讴卮蹖卮 丕夭 鬲噩乇亘蹖丕鬲 丨囟賵乇卮 丿乇 禺丕賳賴鈥屫й� 賲蹖鈥屭堐屫� 讴賴 賲蹖夭亘丕賳 賲丨丕賮賱 丕丿亘蹖 卮亘丕賳賴鈥� 亘賵丿 丿乇 丨丕賱蹖 讴賴 丿乇 賴賲丕賳 夭賲丕賳 丿乇 爻乇丿丕亘 禺丕賳賴 丕夭 夭賳丿丕賳蹖丕賳 亘丕夭噩賵蹖蹖 丕賳噩丕賲 賲蹖鈥屫簇� 賵 诏丕賴丕賸 亘乇禺蹖 讴卮鬲賴 賲蹖鈥屫簇嗀�. 丿乇 賵氐賮 夭賳 賲蹖夭亘丕賳貙 賲丕乇蹖丕 讴丕賳丕賱爻貙 丿乇 丕賳鬲賯丕丿 亘賴 丕賮乇丕丿 乇賵卮賳鈥屬佢┴辟嗁呚й� 夭賲丕賳 賲蹖鈥屬嗁堐屫池�:
丿賵爻鬲鈥屫ж� 賴賳乇 亘賵丿. 丿賵爻鬲 丿丕卮鬲 賴賲丿賲 賳賯丕卮丕賳貙 倬乇賮賵乇賲賳爻鈥屫⒇必€� 讴丕乇丕賳 賵 賵蹖丿卅賵丌乇鬲鈥� 讴丕乇丕賳 卮賵丿貙 卮丕蹖丿 趩賵賳 爻賵丕丿卮丕賳 讴賲鬲乇 丕夭 賳賵蹖爻賳丿诏丕賳 亘賵丿 蹖丕 丕賵 丕蹖賳胤賵乇 賲蹖鈥屫屫�. 亘毓丿 賯丕鬲蹖 賳賵蹖爻賳丿賴鈥屬囏� 卮丿 賵 丿蹖丿 丌賳鈥屬囏� 賴賲 趩賳丿丕賳 亘丕爻賵丕丿 賳蹖爻鬲賳丿. 讴蹖鈥� 賲蹖鈥屫з嗀� 趩賯丿乇 禺蹖丕賱卮 丌爻賵丿賴 卮丿. 丌爻賵丿诏蹖鈥屫й� 禺丕氐 卮蹖賱蹖丕蹖蹖鈥屬囏�. 丕夭 賲丕 賲乇丿賲賽 丕蹖賳 讴卮賵乇 禺丿丕夭丿賴 丕賳诏卮鬲鈥屫促呚ж臂� 賵丕賯毓丕賹 亘丕賮乇賴賳诏蹖賲貙 亘賯蹖賴 丕夭 丿賲 丕亘賱賴鈥屫з嗀�. 丨鬲蹖 丌丿賲鈥屬囏й� 禺賵卮鈥屬呚簇必� 賵 丿賵爻鬲鈥屫ж簇嗃�.
亘賵賱丕賳蹖賵 讴卮蹖卮 賵 卮丕毓乇 卮蹖賱蹖丕蹖蹖鈥屫й� 乇丕 乇賵亘賴 乇賵蹖 賲丕 賳卮丕賳丿賴 丕爻鬲 讴賴 夭蹖乇 亘丕乇 鬲賲丕賲 丕蹖賳 丌卮賵亘 賴丕 乇賵丨蹖賴 蹖 禺賵丿 乇丕 丕夭 丿爻鬲 丿丕丿賴 賵 卮毓乇賴丕蹖蹖 讴賴 賲蹖 爻乇賵丿賴貙 丕夭 讴賱丕爻蹖讴 賵 丌倬賵賱賵蹖蹖 丿趩丕乇 丨爻 賵 丨丕賱蹖 丕賮爻丕乇诏爻蹖禺鬲賴 賵 丿蹖賵賳蹖 爻蹖丕蹖蹖 賲蹖 卮賵丿 賵 丿爻鬲 亘賴 賳賵卮鬲賳 賲賯丕賱賴 賴丕蹖 丕賳鬲賯丕丿蹖 賲蹖 夭賳丿 賵 丕夭
毓噩夭貙 鬲乇爻貙 丕乇丕丿賴 賲囟丨讴 賵 讴爻丕賱鬲 亘蹖 丨丿賵丕賳丿丕夭賴 蹖 賲乇丿賲 卮蹖賱蹖丕蹖蹖 賲蹖 賳賵蹖爻丿 讴賴 亘賴 诏賮鬲賴 蹖 禺賵丿卮 丕賳诏丕乇 丿丕卮鬲 丿乇 亘蹖丕亘丕賳蹖 丿丕丿 賲蹖 夭丿 賵 鬲賳賴丕 讴爻丕賳蹖 賮乇蹖丕丿賴丕 賵 诏丕賴 夭賵夭賴 賴丕蹖卮 乇丕 賲蹖 卮賳蹖丿賳丿 讴賴 賲毓賳丕蹖 賳賵卮鬲賴 賴丕蹖卮 乇丕 賲蹖 賮賴賲蹖丿賳丿 賵 趩賳丕賳 讴爻丕賳蹖 夭蹖丕丿 賳亘賵丿賳丿.
亘賵賱丕賳蹖賵 卮蹖賱蹖 乇丕 丿乇 丌賳 丿賵乇丕賳 亘賴 丿乇禺鬲 丕乇睾賵丕賳 蹖丕 賴賲丕賳 丿乇禺鬲 蹖賴賵丿丕 鬲卮亘蹖賴 賲蹖鈥屭┵嗀�. "丿乇禺鬲蹖 亘蹖 亘乇诏 賵 賲乇丿賴鈥屭堎� 讴賴 乇蹖卮賴 丿乇 丕毓賲丕賯賽 禺丕讴賽 爻蹖丕賴 丿丕卮鬲貙 禺丕讴賽 爻蹖丕賴賽 睾賳蹖賽 賲丕 讴賴 讴乇賲鈥屫и┷屸€屬囏й� 趩賴賱 爻丕賳鬲蹖鈥屬呚臂屸€屫ж� 卮賴乇鬲蹖 丿丕乇賳丿."
讴卮蹖卮貙 卮丕毓乇 賵 賲賳鬲賯丿 亘夭乇诏賽 賲丕 丿乇 爻乇丕爻乇 丿丕爻鬲丕賳 鬲賵賴賲丕鬲蹖 丕夭 丿蹖丿賳 蹖讴 噩賵丕賳讴 鬲讴蹖丿賴 丿丕乇丿. 噩賵丕賳讴 鬲讴蹖丿賴鈥屫й� 讴賴 亘賴 丕賵 賲蹖鈥屫嗀� 賳夭丿蹖讴 賲蹖鈥屫促堌� 賳爻亘鬲 亘賴 丕賵 賳丕亘丕賵乇 丕爻鬲 賵 丿乇賳賴丕蹖鬲 丿賵乇 賲蹖鈥屫促堌� 賵 丿乇 爻胤乇賴丕蹖 倬丕蹖丕賳蹖 亘賵賱丕賳蹖賵 亘賴 賲丕 賲蹖鈥屭堐屫� 讴賴 噩賵丕賳讴 鬲讴蹖丿賴 禺賵丿 丕賵 丕爻鬲貙 爻亘丕爻鬲蹖丕賳 卅賵乇乇賵鬲蹖丕 賱丕讴乇賵丌貙 讴卮蹖卮貙 卮丕毓乇 賵 賲賳鬲賯丿 亘夭乇诏 卮蹖賱蹖丕蹖蹖.
"丕夭 禺賵丿賲 賲蹖鈥屬矩必迟� 噩賵丕賳讴 鬲讴蹖丿賴 讴噩丕 丕爻鬲責 趩乇丕 乇賮鬲責 丌乇丕賲 丌乇丕賲 丨賯蹖賯鬲 亘賴 爻丕賳賽 噩爻丿賽 賲乇丿賴鈥屫й� 倬丿蹖丿丕乇 賲蹖鈥屫促堌�. 噩爻丿賽 賲乇丿賴 丕蹖 讴賴 丕夭 鬲賴 丿乇蹖丕 蹖丕 讴賮 賲噩乇丕蹖 丌亘 亘丕賱丕 賲蹖 丌蹖丿. 爻丕蹖賴 丕卮 乇丕 賲蹖 亘蹖賳賲 讴賴 亘丕賱丕 賲蹖 丌蹖丿. 爻丕蹖賴 丕卮 爻賵爻賵 賲蹖 夭賳丿. 爻丕蹖賴 丕卮 噩賵乇蹖 亘丕賱丕 賲蹖 丌蹖丿 讴賴 丕賳诏丕乇 丕夭 鬲倬賴 丕蹖 亘乇 爻蹖丕乇賴 丕蹖 賮爻蹖賱蹖 亘丕賱丕 賲蹖 讴卮丿. 亘毓丿 丿乇 鬲丕乇蹖讴 乇賵卮賳 亘蹖賲丕乇蹖 丕賲 趩賴乇賴 蹖 鬲賳丿禺賵 賵 賱胤蹖賮 丕卮 乇丕 賲蹖 亘蹖賳賲 賵 丕夭 禺賵丿賲 賲蹖 倬乇爻賲: 賲賳 噩賵丕賳讴 鬲讴蹖丿賴 丕賲責 鬲乇爻蹖 卮丿蹖丿 丿丕賲賳 诏蹖乇賲 賲蹖 卮賵丿 賵 賲蹖倬乇爻賲 賲賳 賴賲丕賳 噩賵丕賳讴 鬲讴蹖丿賴 丕賲 讴賴 賮乇蹖丕丿賴丕卮 亘賴 诏賵卮 丕丨丿蹖 賳賲蹖 乇爻丿責 丌賳 噩賵丕賳讴 鬲讴蹖丿賴鈥屰� 亘丿亘禺鬲 賲賳賲責 亘毓丿 趩賴乇賴 賴丕 亘丕 爻乇毓鬲蹖 丿賵乇丕賳蹖 丕夭 亘乇丕亘乇 趩卮賲賴丕賲 賲蹖鈥屭柏必�. 趩賴乇賴鈥屰� 丌賳鈥屬囏� 讴賴 爻鬲丕蹖卮鈥屫簇з� 讴乇丿賴鈥屫з呚� 丿賵爻鬲鈥屫簇з� 丿丕卮鬲賴鈥屫з呚� 丕夭卮丕賳 亘蹖夭丕乇 亘賵丿賴鈥屫з呚� 亘賴卮丕賳 乇卮讴 亘乇丿賴鈥屫з� 賵 禺賵丕乇卮丕賳 卮賲乇丿賴鈥屫з�. 趩賴乇賴鈥屬囏й屰� 讴賴 丕夭卮丕賳 丨賲丕蹖鬲 讴乇丿賴鈥屫з呚� 亘賴卮丕賳 丨賲賱賴 讴乇丿賴鈥屫з呚� 禺賵丿賲 乇丕 丿乇 亘乇丕亘乇卮丕賳 賲賯丕賵賲 讴乇丿賴鈥屫з� 賵 亘蹖賴賵丿賴 倬蹖鈥屫簇з� 亘賵丿賴鈥屫з�.
亘毓丿 鬲賵賮丕賳賽 诏購賴 丌睾丕夭 賲蹖鈥屫促堌�."
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