I came across this bit by Seth Riley over at The Millions, and boy…he gets it. I’d like to buy the guy a drink because who else is going to talk desert murders, prison violence and fetishized torment with me (and endure all the fevers and all the kicks and punches only to laud the cause of them afterward)? As Riley knows, Roberto Bolaño’s 2666 is a book that splits you open and tears you up. I’m still turning the thing this way and that long after reviewing it late in 2017 and giving Bolaño top marks for ingenuity.
Since then I’ve added his Third Reich and The Insufferable Goucho to my collection. I guess I don’t hold a grudge for pain inflicted.
Addendum/Edited to add…from the comments to Riley’s piece:
Both books [2666 and Cormac McCarthy’s Blood Meridian] are kind of like moral tests, and if you keep reading through the dead babies hung on trees and sequences of rapes and murders, it’s almost like you’ve failed the test. I keep on failing. It’s gruesome, it’s horrific, but I can’t turn away.
…I think this John Fox guy gets it, too.
It’s a verbal labyrinth; it’s a zoetrope of rape and murder and prison violence; it’s a deep sea fish that crawls, impossibly, through the Sonora desert; it’s a world in which the Virgin winks and the whores are cross-eyed.
2666 · Roberto Bolaño · 2004
Natasha Wimmer translation · Farrar, Straus and Giroux, 2008 · 893 pages, hardcover
There is no summary for this book. 2666 is Roberto Bolaño’s final opus, published posthumously one year after his death in 2003. Its five parts are incongruous but have a tip-of-the-tongue commonality that sucks them toward one point: Santa Teresa, Sonora, Mexico. Ignacio Echevarría, Bolaño’s literary executor, writes in an addendum to the FSG edition that the novel’s title references a passage from one of Bolaño’s previous novels, Amulet, which he had published five years before 2666:
Guerrero, at that time of night, is more like a cemetery than an avenue, not a cemetery in 1974 or in 1968, or in 1975, but a cemetery in the year 2666, a forgotten cemetery under the eyelid of a corpse or an unborn child, bathed in the dispassionate fluids of an eye that tried so hard to forget one particular thing that it ended up forgetting everything else.
And 2666 really is a cemetery of sorts and one that inters all the creepiness of something crawling beneath the eyelid of its many corpses.