Posts Tagged ‘neruda’
I’ve found that people who’ve read stories by Roberto Bolaño tend to have stories to tell about Roberto Bolaño. These stories are inevitably about ourselves, our own life stories and the stories of those in our lives.
The first time anyone ever told me about Bolaño was when I had a chance meeting with my friend K, on Bold Street, which anyone in the Liverpool art scene knows is the street on which chance meetings are inevitable, so not really chance at all, and it’s really the only place I see K these days. K is a Glaswegian former Situationist, a playwright and DJ – at the legendary Eric’s in the punk era and on Toxteth pirate radio stations in the 90s, which is when I got to know him well, though our paths had first crossed as adult literacy tutors in the back end of the 80s. He set up the annual African and Latin American music festival in Liverpool and I’m used to him recommending artists to me whose names sound like songs – Orchestre Baobab, Oumou Sangaré, Lisandro Meza, Zaiko Langa Langa – and, to be truthful, the words “Roberto Bolaño” similarly washed over me as a melodic statement rather than a name to follow up. What did stick with me was that there was a buzz about a novel by this writer, that the work was unfeasibly ambitious and certainly messy but, K told me, “some of the things he does with prose” justified the hype. Slightly closer attention to the susurrus from the literary salon told me that the novel was Bolaño’s five-part, posthumously published 2666, so I got hold of a copy. In the spring of 2009, I began reading it in the café of Liverpool’s World Museum while waiting for a meeting about the Charles Darwin-inspired Evolving Words workshops I would be facilitating there over the summer.
The story of how I came by Bolaño now becomes a different story, not really a story about friendship and meetings and work and time, but a story about writing; it’s about reading and it’s about being a writer; it’s about being this writer and not being that writer. That’s why I am using these stories as a preamble – in case you were losing faith in my remembering the title of this post – to talking about Bolaño’s short story, A Literary Adventure from the similarly posthumous 2008 collection, Last Evenings On Earth: because any story I tell about Bolaño should rightfully mention the story about when I was reading 2666 and my head spun round in a complete circle.
I began reading with thoughts of K’s paean about the quality of ideas in the prose. For eight-and-a-half pages, I was conscious of the lack of spectacle. The writing was fluid, engaging, and the story was interesting. I don’t know what exactly I was looking for – I had the experience built up as something akin to a first hearing of a musical revolutionary like Sun Ra or Ornette Coleman, but what might that be like in prose fiction, with words on the mortuary slab of a page? If a work of prose is like a building, then in these early few pages I was still in the hallway of the prose, able to admire only the basic masonry and door hinges of the text. Then, on page 9, a character called Liz Norton, an English academic in an Oxford college, began reading a novel by an obscure German writer, Benno von Archimboldi:
She read it, liked it, went to her college library to look for more books by the German with the Italian name, and found two: one was the book she had already read in Berlin, and the other was Bitzius. Reading the latter really did make her go running out. It was raining in the quadrangle, and the quadrangular sky looked like the grimace of a robot or a god made in our own likeness. The oblique drops of rain slid down the blades of grass in the park, but it would have made no difference if they had slid up. Then the oblique (drops) turned round (drops), swallowed by the earth underpinning the grass, and the grass and the earth seemed to talk, no, not talk, argue, their incomprehensible words like crystallized spiderwebs, or the briefest crystallized vomitings, a barely audible rustling, as if instead of drinking tea that afternoon, Norton had drunk a steaming cup of peyote.
[translation by Natasha Wimmer]
And that was when my head performed a 360.
The willingness to perform prosal trapeze acts is the facet of Bolaño that first grabbed me but even the rococo stylings of the above passage give indications of some of the staple concerns in his writing. There, creeping in at the last in the reference to peyote, is the Latin American sensibility, one that is dropped – here via the Englishwoman reading the “German with an Italian name” – into a European setting where such identities drift, maybe disappear, maybe re-settle, often co-ordinate themselves in a foreign place around a sense of artistic belonging, yet are always in the grip of home. Bolaño was 20 when, on September 11th 1973, General Augusto Pinochet’s CIA-backed coup deposed the government of Salvador Allende and proceeded to brutalise the Chilean people for the next seventeen years. As one of the exiled, Bolaño carried into his writing the certainty of impermanence – endings rarely provide closure – and the sense that somehow life is a thing that’s already been lost. As liver failure led towards his early death, aged 50, this must have darkened the shadows under each tender observation of the artistic existence.The disposition towards melancholia related to exile and to illness but it was there in Bolaño’s essential literary condition, that of the lesser known poet. From the passage quoted, you can see that poetry underpins his prose. Fiction was also the strategy he turned to in order to achieve a modicum of financial success – to support a young family – of the kind poetry had never been able to provide him. Key to the first story you are told about Bolaño is his intended structuring of 2666 as a series of separate books to be released as posthumous publications over successive years, ensuring a regular dribble of revenue. When the time came, the decision instead to polish up the working draft of the fifth book and publish them all in a single volume was vindicated by the subsequent Bolaño fever, which in turn made his previous writing viable again. He even started to be recognised as a poet. As a commentary on this writing life, it was a very Bolaño-like plot development. Wry observations on literary fortunes, bordering bitterness, run through much of his writing. How could he have had success as a poet? He was a Chilean poet in exile and the world had already placed Pablo Neruda in the single occupancy vehicle that was Chilean poetry in exile. Bolaño’s own idol was Nicanor Parra, a pricklier presence in Chilean poetry, in whose lines (as below) we can get a sense of Bolaño’s own poetic disposition:
I Take Back Everything I’ve Said
Before I go
I’m supposed to get a last wish:
burn this book
It’s not at all what I wanted to say
Though it was written in blood
It’s not what I wanted to say.
No lot could be sadder than mine
I was defeated by my own shadow:
My words took vengeance on me.
Forgive me, reader, good reader
If I cannot leave you
With a warm embrace, I leave you
With a forced and sad smile.
Maybe that’s all I am
But listen to my last word:
I take back everything I’ve said.
With the greatest bitterness in the world
I take back everything I’ve said.
[Nicanor Parra; translated by Miller Williams]
It’s possible that a story like A Literary Adventure, translated by Chris Andrews, might seem a meandering tale of obsession, a more loosely-structured take on Edgar Allen Poe’s seminal shadow-chaser, The Man Of The Crowd but without the pay-off of Poe’s final, frustrated confrontation. This is more than a case of Bolaño spinning a shaggy dog story: the marginalised writer moves with a shambling gait through most of Bolaño’s stories, whether as stand-ins for the writer himself, or personified by the almost mythic figure of Archimboldo, or emerging from the pages of forgotten literary journals picked up in thrift shops by the characters in the short stories. It’s not difficult, as a writer, to relate to such figures because we all have our sense of marginalisation; of being overlooked in favour of other lesser, or if not lesser then luckier, or if not luckier then simply younger talents; or of – whatever level of satisfaction we may have with our own relative status – griping that there is insufficient regard for what we do because the public is misdirected as to why, how and what to read. For the most part, these miseries can be absorbed, comfortably and productively, into a world-view laced with a generous and genial scepticism but Bolaño provides catharsis because he never absorbed that stuff: it bounced straight onto the page.Benjamin Samuel, blogging about literary feuds, cites Bolaño’s pronouncement on the Argentinian writer, Osvaldo Soriano: “You have to have a brain full of fecal matter to see him as someone around whom a literary movement can be built.”
It’s in this context of affronted ego mixed with wounded self-doubt that A Literary Adventure takes shape. As elsewhere in his short stories, Bolaño’s protagonist is simply identified as B. There is an antagonist, as unwitting a nemesis as the suspicious-looking old man trailed by Poe’s narrator, referred to as A. These may well be substitutes for Bolaño and a specific contemporary, but they are archetypes as well. A is:
a writer of about B’s age, but who, unlike B, is famous, well-off and has a large readership; in other words he has achieved the three highest goals (in that order) to which a man of letters can aspire. B is not famous, he has no money and his poems are published in little magazines.
I know I’m a B; to my friends and acquaintances and Facetwitter whatever whatevers, if I’m more in the A category to you, then I beg your forgiveness but, you know, you should get out more because there are some real As out there and each of them considers his or herself a B in relation to someone else again. The details that inject this story with the pain of a chord played by Victor Jara are phrases like the “in that order” ranking of writerly aspirations, or the heartbreaking diminuitive “little magazines”. So personal disappointment is fused with a righteous sense that success is lavished on the undeserving, or that it corrupts. B notices “a sanctimonious tone” appearing in A’s writing as his recognition grows and it’s this pomposity he attacks when creating Medina Mena, a thinly-veiled representation of A, for one chapter of a novel he is writing (presumably because poetry isn’t paying). The novel is picked up for publication and sent out for reviews. A is a reviewer – an influential one, at that – and he loves B’s book. While singing its praises, he appears not to recognise, or at least publicly to acknowledge, the satirical version of himself B has written.
The story revolves around the moral crisis A’s enthusiastic review triggers in B’s conscience and imagination. The layering of speculation upon assumption here is an utterly believable depiction of B’s mounting paranoia:
He’s praising my book to the skies, thinks B, so he can let it drop back to earth later on. Or he’s praising my book to make sure no one will identify him with Medina Mena. Or he hasn’t even realised, and it was a case of genuine appreciation, a simple meeting of minds. None of these possibilities seems to bode well.
Neurosis makes for great, bleak comedy and there’s a Picaresque feel – B as a hapless Gulliver in the land of Spanish literature – to the way the plot spools through B’s efforts to get to know A and thereby get to the truth of exactly what he felt about the Medina Mena character. There is the publication of B’s second novel and A’s equally warm, though suspiciously swift, review of that. There is a party in which a meeting with A seems about to take place in a dark recess of a garden which Chekhov might have fashioned to represent a soul in torment. And there are phonecalls made at inappropriate times, visits planned, voices overheard, all of which seem to be inching us towards a resolution.
But B’s identity as a writer must leave agonies like this unresolved. This story isn’t what matters anyway: what matters are the stories that happen in the corner of your eye while you’re keeping watch on something you should ignore. When following A but deliberating on whether to try to speak to him, B goes to a restaurant and, for a few minutes as he eats, we sense a respite from the literary frustration that’s eating away at him. Could the story have been here instead?
B sits down next to the window, in a corner away from the fireplace, which is feebly warming the room. A girl asks him what he would like. B says he would like to have dinner. The girl is very pretty. Her hair is long and messy, as if she just got out of bed. B orders soup, and a meat and vegetable dish to follow.
The next sentence – “While he is waiting he reads the review again.” – sucks him back into his grim quest but in that sliver of life in the restaurant, that moment of survival and possible hope for more than mere survival, we glimpse the beauty of Bolaño’s storytelling. We get that his stories and our own swim around one another, with beginnings that are impossible to trace and no resolution in the endings, just these moments that happen on the way to the end.
My good friend O, a songwriter, guitarist and drummer, was another Chilean who left the country after youthful struggles against Pinochet. Before he arrived in Liverpool, he spent some time in Spain, where A Literary Adventure and other Bolaño stories are set. He hasn’t read Bolaño but he has a story he wants to tell about the beautiful Madrileña daughter who recently stepped out of his past. I want him to read Last Evenings On Earth as he sets about writing down his stories. Because he’s in Bolaño’s stories and because Roberto Bolaño is in his. Because that’s the way Bolaño’s writing works: it’s intravenous. I read Bolaño and I glimpse beauty in small moments of survival but I read Bolaño and I feel the volume of self-doubt that’s in all writers’ libraries easing itself off the shelf and dropping onto my lap. And that’s too overwrought a metaphor, isn’t it, making the process sound like The Sorcerer’s Apprentice. And I’ve made this blog too long so readers will probably cut out after they click on the Sun Ra link I inserted earlier, so then that’ll be yet another thing to add to the list of all the other things.
L is for C.S. Lewis’ 5 Tips for Clear Writing
I was reminded of this list when it was posted on a Facebook page for creative writing students at Liverpool John Moores University, where I’ve been luxuriating in short story pursuits since the end of September. The notable thing is not just how much good sense there is in each of these tips, but that Lewis was directing his advice at children, the assumption being that writers will then reach adulthood having dispensed with the bad habits counterposed here. Either they’re starting adulthood a lot later these days or the message needs to get louder:
1. Always try to use the language so as to make quite clear what you mean and make sure your sentence couldn’t mean anything else.
2. Always prefer the clean direct word to the long, vague one. Don’t implement promises, but keep them.
3. Never use abstract nouns when concrete ones will do. If you mean “More people died” don’t say “Mortality rose.”
4. In writing, don’t use adjectives which merely tell us how you want us to feel about the things you are describing. I mean, instead of telling us the thing is “terrible,” describe it so that we’ll be terrified. Don’t say it was “delightful”; make us say “delightful” when we’ve read the description. You see, all those words (horrifying, wonderful, hideous, exquisite) are only like saying to your readers “Please, will you do my job for me.”
5. Don’t use words too big for the subject. Don’t say “infinitely” when you mean “very”; otherwise you’ll have no word left when you want to talk about something really infinite.
M is for Mr Benn
On holiday in Madrid and Toledo in 1996, only the second time I’d been abroad since moving to Liverpool over ten years earlier, my writing brain started finding points of connection with David McKee’s fancy dress time-travelling adventurer. I was writing predominantly about cultural identity at the time, for performance poetry and for an MA, and the pivotal narrative mechanism in each Mr Benn story – he changes his clothes; steps through a doorway and becomes embroiled in the dramas of a strange foreign environment; changes their lives; then he gets reminded who he really is and he returns with only a memory – seemed to offer a loose parable for the co-mingling of ‘otherness’ and belonging experienced when a second generation immigrant becomes a British tourist abroad. The thoughts found concrete expression when I introduced a Mr Benn twist to the story of San Miguel de los Helados, written after going for an ice cream in Toledo and representing the first time my increasingly prose-shaped poetry took off its bowler hat and donned the apparel of a short story.
Aside from the delightful stories, brilliant illustrations, the iconic cartoon it spawned with Ray Brooks’ narration and a soundtrack by some of Britain’s finest jazz musicians of the time, Mr Benn provides handy shorthand for a number of narrative tropes and archetypes. Festive Road is a terraced row of pathetic fallacy, in which the mood of the street and its inhabitants echoes something in the fantasy world Mr Benn will find. Our hero may as well be carrying a loaf of bread in his briefcase, sitting in the park all day feeding the ducks, and then going home at 5 o’clock to tell his wife (if we’re allowed to speculate that he has a wife) he’s been hard at work, when in reality he was laid off months ago: what does he do in his bowler hat, suit and tie other than take it off in the fancy dress shop? But this sense of him being as escapee from office and suburban humdrum is a huge part of his appeal. The device of the shopkeeper popping up “as if from nowhere” is, at first glance, textbook deus ex machina but this is a text in which Mr Benn too steps out of a machine to resolve the crises he encounters. His role is typically that of a Dr Who bringer of knowledge from other worlds or a mellower version of the ghostly inspector in J.B. Priestley’s An Inspector Calls, forcing the community to examine itself. The shopkeeper’s intervention, then, is not to impose an artificial or divine solution but to represent reality’s yoke, leading Mr Benn back to that terraced treadmill.
Don’t get me started on the psychosexual undertones in Judith Kerr’s The Tiger Who Came To Tea!
N is for Pablo Neruda
from I’m Explaining A Few Things
You are going to ask: and where are the lilacs?
and the poppy-petalled metaphysics?
and the rain repeatedly spattering
its words and drilling them full
of apertures and birds?
I’ll tell you all the news.
I lived in a suburb,
a suburb of Madrid, with bells,
and clocks, and trees.
[…full poem here…]
And you’ll ask: why doesn’t his poetry
speak of dreams and leaves
and the great volcanoes of his native land?
Come and see the blood in the streets.
Come and see
The blood in the streets.
Come and see the blood
In the streets!
O is for Osiris
Because when you’re in the world of words and stories and ideas about words and stories, you sometimes need a purgative, a palate-cleanser, and joining in the chorus of this funk monster should do the trick:
P is for Periphery
What’s everybody looking at? That’s not where your story is.
Q is for Quite
Or fairly, a number of, several, a few…
The trouble with omniscient narrators is that they think they know it all. No, actually, we think they know it all, we depend on that – it’s what we trade our hard-earned suspension of disbelief for. So when the narrative tells us that a place is “quite far away” or that there were “a few” people in the bar, there’s got to be a pretty good reason why we’re not being told the precise distance or number of customers. There was a pretty good reason for me using “pretty” to modify good in that last sentence – two, in fact: one, because it gives the tone of the blog the sense of motivational speaker urgency that seems to go down well; and two, because it sets off a little Larry David in my head, saying “Pret-tay, pret-tay, pret-tay good!” and that makes me smile. All these weak adjectives have their place, of course, when you need an adjective to express a personal attitude towards a quality or quantity being described, but if you want to give your reader information, and you want them to pay attention to that information, then if it’s quite important that it’s quite accurate, you’re diminishing your intended impact.
R is for Rainy Day In The Park
Bruce Robinson’s 1987 film, Withnail and I, ends with this, the moment Richard E. Grant will carry with him as evidence when he’s claiming a comfortable seat with which to see out the afterlife. Forget everything you know and have ever quoted from this film. Go to that park, stand in that rain, see that man with the umbrella, hear him shouting, and then listen to what he’s saying – your story starts where this one stops.