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Showing posts with label <b>Roberto Bolaño</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>Roberto Bolaño</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Friday, July 06, 2012</span></h2>

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<a href="http://farm9.staticflickr.com/8163/7487418366_85633aaea9_o.jpg"><img alt="" border="0" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh3.googleusercontent.com/proxy/cbj36zQFmD55kdMR3G3qWQ-NAsUCJ7rXWgDN2H1o7AT2z52m0_WzF-cn7lyIYfzX3iAIl-GpaaNSszD0OwcpCMSY822mioMcM8c4NeCGi6VYWA%3Ds0-d" style="float:right; margin:0 0 10px 10px;cursor:pointer; cursor:hand;width: 220px; height: 298px;"></a> <p class="MsoNormal"><span style="color:#1E1C11;mso-themecolor:background2; mso-themeshade:26;mso-style-textfill-fill-color:#1E1C11;mso-style-textfill-fill-themecolor: background2;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: lumm=10000">Because I was going to read in <a href="https://www.youtube.com/watch?feature=player_embedded&amp;v=duz6WL1DChE"><span style="color:#1E1C11;mso-themecolor:background2;mso-themeshade:26;mso-style-textfill-fill-color: #1E1C11;mso-style-textfill-fill-themecolor:background2;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:lumm=10000">Antwerp</span></a>, I thought maybe I should read <a href="http://ndbooks.com/book/antwerp"><span style="color:#1E1C11;mso-themecolor:background2;mso-themeshade:26;mso-style-textfill-fill-color: #1E1C11;mso-style-textfill-fill-themecolor:background2;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:lumm=10000">Roberto Bolaño&#8217;s novel</span></a> of the same name. I should have known that Bolaño, who was a master of misdirection, was more or less writing about everything <i style="mso-bidi-font-style:normal">but </i>Antwerp &amp; that most of the book is set in Spain. But then I found myself speaking more Spanish in Belgium &amp; the Netherlands than I did Dutch, so there was a curiously appropriate echo there too. Here is the title chapter, the 49<sup>th</sup> of 56, of <i style="mso-bidi-font-style:normal"><a href="http://www.amazon.com/Antwerp-Roberto-Bola%C3%B1o/dp/0811217175#reader_0811217175"><span style="color:#1E1C11;mso-themecolor:background2;mso-themeshade:26;mso-style-textfill-fill-color: #1E1C11;mso-style-textfill-fill-themecolor:background2;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:lumm=10000">Antwerp</span></a> </i>in its entirety as translated by Natasha <span class="SpellE">Wimmer</span>:<o:p></o:p></span></p>  <p class="MsoNormal" style="margin-top:0in;margin-right:.5in;margin-bottom:10.0pt; margin-left:.5in"><span style="color:#1E1C11;mso-themecolor:background2; mso-themeshade:26;mso-style-textfill-fill-color:#1E1C11;mso-style-textfill-fill-themecolor: background2;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: lumm=10000">In Antwerp a man was killed when his car was run over by a truck full of pigs. Lots of pigs died too when the truck overturned, others had to be put out their misery by the side of the road, and others took off as fast as they could &#8230; &#8220;That&#8217;s right, honey, he&#8217;s dead, the pigs ran right over him&#8221; &#8230; &#8220;At night, on the dark highways of Belgium or Catalonia&#8221; &#8230; &#8220;We talked for hours in a bar on Las <span class="SpellE">Ramblas</span>, it was summer and she talked as if she hadn&#8217;t talked for a long time&#8221; &#8230; &#8220;When she was done, she felt my face like a blind woman&#8221; &#8230; &#8220;The pigs squealed&#8221; &#8230; &#8220;She said I want to be alone and even though I was drunk I understood&#8221; &#8230; &#8220;I don&#8217;t know, it&#8217;s something like the full moon, girls who are really like flies, though that&#8217;s not what I mean&#8221; &#8230; &#8220;Pigs howling in the middle of the highway, wounded or rushing away from the smashed-up truck&#8221; &#8230; &#8220;Every word is useless, every sentence, every phone conversation&#8221; &#8230; &#8220;She said she wanted to be alone&#8221; &#8230; I wanted to be alone too. <span class="GramE">In Antwerp or Barcelona.</span> <span class="GramE">The moon.</span> <span style="mso-spacerun:yes"> </span><span class="GramE">Animals fleeing.</span> <span style="mso-spacerun:yes"> </span><span class="GramE">Highway accident.</span> <span class="GramE">Fear.</span><o:p></o:p></span></p>  <p class="MsoNormal"><span style="color:#1E1C11;mso-themecolor:background2; mso-themeshade:26;mso-style-textfill-fill-color:#1E1C11;mso-style-textfill-fill-themecolor: background2;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: lumm=10000">We might even segregate the sentences like this:<o:p></o:p></span></p>
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<a href='https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2012/07/because-i-was-going-to-read-in-antwerp.html%23more' title=''>Read more &#187;</a>
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<h2 class='date-header'><span>Friday, February 05, 2010</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'><a href="http://www.ndpublishing.com/books/bolanoromanticdogs.html"><span style='color:black;text-decoration:none;text-underline:none'><img border="0" height="256" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/h7mVE2DBD-j9fpkdbvudo7cY9VpUWu48-Fz0pfgAGi9-MSwPQ96QocX_Z8P40xTv_GZw2KWKFQshJNTaOZgBrDLCbsvREPT8rGj5BHl4Ce1hk7WX_5A%3Ds0-d" width="166"></span></a><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'><a href="http://en.wikipedia.org/wiki/Roberto_Bolano"><span style='color:black'>Roberto Bolaño</span></a> often is characterized as a poet who wrote novels, no doubt because poets &amp; poetry figure importantly in his books. <i style='mso-bidi-font-style:normal'><a href="http://www.ndpublishing.com/books/bolanoromanticdogs.html"><span style='color:black'>The Romantic Dogs</span></a>, </i>however, suggests something different, that Bolaño is a novelist who began as a poet, not unlike Michael Ondaatje, or Paul Auster, or (to look not to the novel but to music) the way Patti Smith started as a poet, or Laurie Anderson as a short story writer. <i style='mso-bidi-font-style:normal'>The Romantic Dogs </i>is an important book because it&#8217;s a book by Bolaño, the book in fact on which the myth of Bolaño-the-poet must be mounted, not because it&#8217;s an important or earth-shattering book of poems. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>If it is not an especially good book of poetry, however, it is a book of some very good poems. The difference lies in the fact that this is a grab-bag of works that show few signs of ever having designed to fit together into a single manuscript and that, without the original Spanish facing the English versions by Laura Healey, would have been not much larger than a chapbook. Not a lot of poetry to show for a life&#8217;s work, especially alongside such mountains of fictive prose as <i style='mso-bidi-font-style: normal'>2666. </i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>The pose of Bolaño-the-poet may well be more important &#8211; and certainly more powerful &#8211; than the fact of the poems themselves, but what might be most useful here is to note the whole notion of Bolaño posing. The unifying &#8211; indeed distinguishing &#8211; element of these poems, written in a post-Beat free verse that might be closest in English to Lawrence Ferlinghetti or <a href="http://www.evergreenreview.com/102/poetry/plymell2.html"><span style='color:black'>Ray Bremser</span></a>, is the consistency of the pose: the intellectual as tough guy but one who is, at all moments, hard as <span class=GramE>nails</span> &amp; deeply sentimental. Think of upper limit Jean-Paul Belmondo in the films of Godard, lower limit Charles Bukowski (not as Mickey Rourke so much as Johnny Depp or, had he lived, Heath Ledger). Imagine Kerouac mixed with Camus. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>This pose, which you can find in the novels as well, has its attractions. Just ask any gal or guy who ever has fallen for a bad boy, one they knew secretly had read everything &amp; cared about what he read. Think, if you can, James Dean crossed with Eliot Weinberger. Or the figure Dylan wants you to buy, especially in the Village chapters of <i style='mso-bidi-font-style:normal'>Chronicles. </i>Or the one that flickers throughout <i style='mso-bidi-font-style:normal'>I&#8217;m <span class=GramE>Not</span> There. </i>Perhaps when they get around to making a film about Bolaño&#8217;s life, the lead won&#8217;t be played by Gael <span class=GramE>Garc<span style='mso-bidi-font-family: Arial'>í</span>a<span style='mso-spacerun:yes'>  </span>Bernal</span> after all, but by Cate Blanchett.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>One can see instantly in these poems both why Bolaño has become such a phenomenon since his death in 2003 &amp; why also there has been a growing backlash against the work in the past year or so. He&#8217;s a very effective advocate for his conception of the poet as outsider <i style='mso-bidi-font-style:normal'>and </i>as a critical intelligence. It&#8217;s visible even in the poems where Bolaño doesn&#8217;t appear as a figure at all. Consider for example how the following poem both does and doesn&#8217;t sound just like Jack Spicer:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt; margin-left:1.0in'><b style='mso-bidi-font-weight:normal'><span style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"; mso-bidi-font-family:"Times New Roman";color:black'>Resurrection<br> <br> </span></b><span style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family: "Arial","sans-serif";mso-bidi-font-family:"Times New Roman";color:black'>Poetry slips into dreams<br> like a diver in a lake.<br> Poetry, braver than anyone,<br> slips in and sinks<br> like lead<br> through a lake infinite as Loch Ness<br> or tragic and turbid as Lake Balat</span><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";color:black'>ó</span><span style='font-size:10.0pt;mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif"; mso-bidi-font-family:"Times New Roman";color:black'>n.<br> Consider it from below<span class=GramE>:</span><br> a diver<br> innocent<br> covered in feathers<br> of will.<br> Poetry slips into dreams<br> like a diver <span class=GramE>who&#8217;s</span> dead<br> in the eyes of God.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>That poem alone is worth the price of this book. And it&#8217;s not the best poem here. It is, like so much of Spicer, a poem about poetry, in which poetry itself is embodied in the figure of the diver<span class=GramE>,</span> not heroically, going deeper for the truth, but at once a figure that is both tragic &amp; comic, sinking like lead but covered in feathers. The feathers no doubt invoke Icarus (hence <i style='mso-bidi-font-style:normal'>feathers / of will</i>), which makes the image of the diver instantly ironic, an irony that is matched by the pairing of Loch Ness with the more obscure &#8220;<a href="http://en.wikipedia.org/wiki/Lake_balaton"><span style='color:black'>Hungarian sea</span></a>&#8221; that the Roman&#8217;s once named &#8220;shallow lake.&#8221; Picking a lake that will not be recognized by Spanish readers, at least in Bolaño&#8217;s native <st1:place w:st="on">Latin America</st1:place>, is a deft, almost typical touch, precisely how Bolaño likes to show off his learning &amp; breadth of experience.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>It is not the poet here who is being equated with Icarus, but poetry itself. It is poetry that is <i style='mso-bidi-font-style: normal'>dead / in the eyes of God. </i>Whatever bravery poetry entails clearly is not rewarded, making it a fool&#8217;s errand. One wonder&#8217;s just how well Bolaño might have known Spicer&#8217;s work &#8211; those short lines, and especially the pregnant one-word line, are virtually signatures of the <st1:place w:st="on"><st1:City  w:st="on">San Francisco</st1:City></st1:place> poet who died young from a different kind of drowning than the one posed by Bolaño here: <o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt; margin-left:1.0in'><span class=GramE><span style='font-size:10.0pt;mso-bidi-font-size: 12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family:"Times New Roman"; color:black'>un</span></span><span style='font-size:10.0pt;mso-bidi-font-size: 12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family:"Times New Roman"; color:black'> buzo<br> inocente<br> envuelto en las plumas<br> de la voluntad<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>Spicer&#8217;s death at 40 is tragic because it was unnecessary. There&#8217;s no indication here when &#8220;Resurrection&#8221;<i style='mso-bidi-font-style: normal'> </i>was written, but it&#8217;s just the third poem in this book whose work is said to have spanned 20 years. Bolaño always wrote like somebody conscious that he himself would die young, tho there is no credible evidence that his death at 50 from liver failure could be explained by the sort of excessive living that felled Spicer. Rather the tone one gets here of doom is closer to his fascination with the fictional archetype of the detective, again the tough guy as researcher.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'>None of which, I should note, explains that plaintive title &#8220;Resurrection.&#8221; Is that what a poem is, its relation to poetry itself? At the least, this is what Bolaño seems to be suggesting, the deeply sentimental side that softens his stance. But if you read the title cynically, as ironic, you serve only to confirm the poem&#8217;s point. All of which makes Bolaño a fascinating package of contradictions, whose success &#8211; especially in English &#8211; seems as much a consequence of his being safely gone as it does the idea that a post-avant writer, especially a neo-Beat, might have been this good. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt; mso-bidi-font-size:12.0pt;font-family:"Arial","sans-serif";mso-bidi-font-family: "Times New Roman";color:black'><o:p>&nbsp;</o:p></span></p>
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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