For most of his early adulthood, Bolaño was a vagabond, living at one time or another in Chile, Mexico, El Salvador, France and Spain.
Bolaño 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 — working during the day and writing at night.
He continued with poetry, before shifting to fiction in his early forties. In an interview Bolaño 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 Bolaño "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, Bolaño 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, Bolaño died. It has been suggested that he was at one time a heroin addict and that the cause of his death was a liver illness resulting from Hepatitis C, with which he was infected as a result of sharing needles during his "mainlining" days. However, the accuracy of this has been called into question. It is true that he suffered from liver failure and was close to the top of a transplant list at the time of his death.
Bolaño 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 Bolaño 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 telefónicas and Putas asesinas were awarded literary prizes.
In 2009 a number of unpublished novels were discovered among the author's papers.
New Year’s Eve, 1975: Arturo Belano and Ulises Lima, founders of the visceral realist movement in poetry, leave Mexico City in a borrowed white Impala. Their quest: to track down the obscure, vanished poet Cesárea Tinajero. A violent showdown in the Sonora desert turns search to flight; twenty years later Belano and Lima are still on the run.
The explosive first long work by “the most exciting writer to come from south of the Rio Grande in a long time” (Ilan Stavans, Los Angeles Times), The Savage Detectives follows Belano and Lima through the eyes of the people whose paths they cross in Central America, Europe, Israel, and West Africa. This chorus includes the muses of visceral realism, the beautiful Font sisters; their father, an architect interned in a Mexico City asylum; a sensitive young follower of Octavio Paz; a foul-mouthed American graduate student; a French girl with a taste for the Marquis de Sade; the great-granddaughter of Leon Trotsky; a Chilean stowaway with a mystical gift for numbers; the anorexic heiress to a Mexican underwear empire; an Argentinian photojournalist in Angola; and assorted hangers-on, detractors, critics, lovers, employers, vagabonds, real-life literary figures, and random acquaintances.
A polymathic descendant of Borges and Pynchon, Roberto Bolaño traces the hidden connection between literature and violence in a world where national boundaries are fluid and death lurks in the shadow of the avant-garde. The Savage Detectives is a dazzling original, the first great Latin American novel of the twenty-first century.
這是一幅浪漫主義者、神秘主義者、柏拉圖主義者的拼圖,你看到瞭什麼,或你以為看到瞭什麼,說到底就是一場斷斷續續甚至來迴往復的公路電影,不單是在空間裏,還在時間裏。這又是一個看似規則簡單的填字遊戲,我們在這個矩陣中逐格玩下去,恰且逢到這是一個橫著拼寫的單詞時,...
評分《荒野偵探》散發齣兩重弧光。它是嚮內部縱深的,波拉尼奧將自我隱喻成一個無名偵探,返迴青春歲月,為一代人寫下情書;同時,它又是嚮外彌散的,文本敞開性感的身體,邀請每一位讀者做一番奧德賽式的漫遊,如偵探般追尋與見證著一代人的青春。 波拉尼奧曾將文學比喻為...
評分《荒野偵探》散發齣兩重弧光。它是嚮內部縱深的,波拉尼奧將自我隱喻成一個無名偵探,返迴青春歲月,為一代人寫下情書;同時,它又是嚮外彌散的,文本敞開性感的身體,邀請每一位讀者做一番奧德賽式的漫遊,如偵探般追尋與見證著一代人的青春。 波拉尼奧曾將文學比喻為...
評分《荒野偵探》的結構像香腸,加西亞•馬德羅的故事束住瞭這本書的兩端,讓這本本來完全可能無頭無尾、無休無止的龐雜之書有瞭開端和結尾。利馬和貝拉諾的經曆如腸衣,包裹住豐富的餡料。沒有腸衣、綫頭,就做不成美味的香腸,不過香腸的滋味主要還是在餡料裏。在酣暢淋灕、充...
評分《荒野偵探》散發齣兩重弧光。它是嚮內部縱深的,波拉尼奧將自我隱喻成一個無名偵探,返迴青春歲月,為一代人寫下情書;同時,它又是嚮外彌散的,文本敞開性感的身體,邀請每一位讀者做一番奧德賽式的漫遊,如偵探般追尋與見證著一代人的青春。 波拉尼奧曾將文學比喻為...
What is outside the window?
评分流水賬天纔。
评分Time flows like water under the bridge. Or is it bridge under the water?Settled be the memories of dust, on the velvety skin of youth, on the lukewarm domesticity of adulthood, on the thin sheets of old age.
评分流水賬天纔。
评分Too hard to read. Probably has to be read in Latin America.
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