{"id":275436,"date":"2009-12-07T21:39:46","date_gmt":"2009-12-07T21:39:46","guid":{"rendered":"http:\/\/www.wdev.rochester.edu\/College\/translation\/threepercent-dev\/2009\/12\/07\/what-bolano-read-parts-2-and-3\/"},"modified":"2018-04-16T17:15:13","modified_gmt":"2018-04-16T17:15:13","slug":"what-bolano-read-parts-2-and-3","status":"publish","type":"post","link":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/2009\/12\/07\/what-bolano-read-parts-2-and-3\/","title":{"rendered":"What Bolano Read: Parts 2 and 3"},"content":{"rendered":"

Last week we mentioned the MobyLives series on What Roberto Bolano Read,<\/a> which is tied into their recent release: Roberto Bolano: The Last Interview & Other Conversations.<\/em> Well, I fell a bit behind, so here’s some info on the two most recent posts:<\/p>\n

From Antipoetry:<\/a><\/p>\n

\n

Roberto Bola\u00f1o once declared that Franz Kafka was the best writer of the twentieth century. He also said the same thing about Anton Chekhov. And Raymond Carver. So when he refers to Chile\u2019s Nicanor Parra as \u201cthe best living Spanish language poet,\u201d we have to take his word for it.<\/p>\n<\/blockquote>\n

\n

It is a well known part of the \u201cBola\u00f1o myth\u201d that, even though his most heralded works are prose, Bola\u00f1o spent most of is formative years writing, reading, and living poetry. In fact, according to his last interview he considered himself a better poet than narrator because, he said, he was \u201cless embarrassed\u201d by his poetry. Among the many poets Bola\u00f1o fell in love with was Nicanor Parra.
\nNicanor Parra has had enough of your nonsense.<\/p>\n<\/blockquote>\n

\n

Born in 1914, Parra, according to the standard biography, studied engineering at the University of Chile, physics at Brown University, and cosmology at Oxford, and spent many years as a teacher of mathematics and a professor of theoretical physics in Santiago. He published his first collection in 1938, and his major work Poemas Y Antipoemas<\/em> in 1954. Much of Parra\u2019s work resembles the later products of the American Beat poets.<\/p>\n<\/blockquote>\n

\n

In an essay Bola\u00f1o wrote called \u201cEight Seconds with Nicanor Parra,\u201d he noted \u201cI\u2019m only sure about one thing regarding Nicanor Parra\u2019s poetry in this new century: it will endure . . . along with the poetry of Borges, of Vallejo, of Cernuda and a few others.\u201d In a veiled compliment, one Parra probably loved, Bola\u00f1o went on to write \u201cBut this, we have to say it, doesn\u2019t matter too much.\u201d<\/p>\n<\/blockquote>\n

And from The Literature of Silence:<\/a><\/p>\n

\n

Roberto Bola\u00f1o is famously the author of two very long novels. The English edition of 2666<\/em> is 912 pages, The Savage Detectives<\/em>, 672 pages. And though Bola\u00f1o died prematurely at age fifty, he produced more than 25 published volumes. A stash of unpublished manuscripts was discovered earlier this year. He was, simply, prolific.<\/p>\n<\/blockquote>\n

\n

But Bola\u00f1o was deeply interested in writers who chose not to produce or publish, as well as writers who were prematurely silenced. In an interview from 2005 in the Spanish literary journal Turia, Bola\u00f1o declared that \u201cThere are literary silences.\u201d And he connected a number of his favorite authors to this notion.<\/p>\n<\/blockquote>\n

\n

\u201cKafka\u2019s, for example, which is a silence that cannot be. When he asks that his papers be burned, Kafka is opting for silence, opting for a literary silence, all in a literary era. That is to say, he was completely moral. Kafka\u2019s literature, aside from being the best work, the highest literary work of the 20th century, is of an extreme morality and of an extreme gentility, things that usually do not go together either.\u201d<\/p>\n<\/blockquote>\n

\n

Another figure that Bola\u00f1o raised was Juan Rulfo, whose two books are among the most influential works of 20th century Mexican literature. After publishing the short story collection The Burning Plain<\/em> (1953) and the novel Pedro P\u00e1ramo<\/em> (1955), Rulfo (who lived from 1917 to 1986) stopped publishing narrative fiction, despite the enormous critical success of the books. Both Faulkner and Garc\u00eda M\u00e1rquez admitted to having been influenced by his prose.<\/p>\n<\/blockquote>\n

\n

Rulfo\u2019s silence, according to Bola\u00f1o, \u201cis obedient to something so quotidian that explaining it is a waste of time. There are several versions: One told by Monterroso is that Rulfo had an uncle so-and-so who told him stories and when Rulfo was asked why he didn\u2019t write anymore, his answer was that his uncle so-and-so had died. And I believe it too . . . Rulfo stopped writing because he had already written everything he wanted to write and because he sees himself incapable of writing anything better, he simply stops . . . After desert, what the hell are you going to eat?\u201d<\/p>\n<\/blockquote>\n

Click through to read the complete posts. And to get more info on The Last Interview<\/em>. And if you haven’t read Pedro Paramo<\/em> you must. It’s absolutely one of the best books of the past century. <\/p>\n

\n<\/a>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Last week we mentioned the MobyLives series on What Roberto Bolano Read, which is tied into their recent release: Roberto Bolano: The Last Interview & Other Conversations. Well, I fell a bit behind, so here’s some info on the two most recent posts: From Antipoetry: Roberto Bola\u00f1o once declared that Franz Kafka was the best […]<\/p>\n","protected":false},"author":292,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[67486],"tags":[10746,2816,15686,19246,756,29086],"class_list":["post-275436","post","type-post","status-publish","format-standard","hentry","category-articles","tag-juan-rulfo","tag-melville-house","tag-mobylives","tag-nicanor-parra","tag-roberto-bolano","tag-the-last-interview"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/275436","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/users\/292"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/comments?post=275436"}],"version-history":[{"count":1,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/275436\/revisions"}],"predecessor-version":[{"id":350006,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/posts\/275436\/revisions\/350006"}],"wp:attachment":[{"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/media?parent=275436"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/categories?post=275436"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rochester.edu\/College\/translation\/threepercent\/wp-json\/wp\/v2\/tags?post=275436"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}