From n + 1:
[Roberto] Bolaño’s reputation among Spanish speakers is secure, but his significance to us can’t be what it is to them. The same goes for Borges, the model Bolaño most often invoked. For Spanish speakers the importance of Borges is not confined to the black metaphysical jokes purveyed in his mind-bending fables. Hispanophone readers often describe a sense of their language as dripping with high-flown inclinations; literary Spanish tends to become humid with rhetoric and profuse with metaphors, something easy to see in modern poetry from Lorca onward. So Borges in his own language counts as a champion dessicator; he pushes Spanish toward the hard, cold, and dry. Even so, he strikes us as rhetorical enough. It fell to writers like Bolaño to complete the dryingout of literary prose already accomplished in other languages by writers like Hemingway and Camus. Bolaño can write page after page without indulging in a single metaphor, or adding a dab of rhetorical color to the account of a dinner party or a murder. Of course you can find perfect sentences in Bolaño, and crazy metaphors too, but for the most part he proceeds as if literature were too desperate an enterprise to bother with being well written. The rationale for his antieloquence belongs to the internal dynamic of any modern language: an idiom encrusted with poeticisms needs a solvent bath. But for Latin Americans of Bolaño’s generation there may also be political grounds for preferring writing degree zero to purple haze. One more disgusting feature of the Argentine junta (it is Argentines who predominate in Bolaño’s gallery of imaginary Nazi writers) was the generals’ magniloquence.
Our problem in America is hardly that our worst politicians speak too well, or that we lack for plain stylists. What is our problem, then—to which Bolaño seems a solution? American critics and regular readers alike usually don’t care for sweeping literary-historical arguments. And yet in recent years we have been celebrating [W. G.] Sebald and Bolaño as if we really do believe in some big metanarrative about the novel—one that proclaims that, even post postmodernism, the form remains in crisis. Sure, Sebald and Bolaño deal with fascism, and both died at the height of their powers. More decisive is that neither fiction writer writes as if he believes in fiction. Our canonization of these writers implies a sense, even a conviction, that you can’t be a really important novelist anymore unless you can’t really write novels.
The whole thing is here
Books by and about W.G. Sebald at amazon.ca
Books by Roberto Bolaño at amazon.ca