The+Last+Interview

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 19-20 | Added on Monday, September 10, 2012, 01:17 PM Shortly before he died of liver failure in July 2003, Roberto Bolaño remarked that he would have preferred to be a detective rather than a writer.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 25-27 | Added on Monday, September 10, 2012, 01:18 PM In their essence, detective stories are investigations into the motives and mechanics of violence, and Bolaño—who moved to Mexico the year of the 1968 Tlatelolco massacre and said he was briefly imprisoned during the 1973 military coup in his native Chile—was also obsessed with such matters.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 58-60 | Added on Monday, September 10, 2012, 01:25 PM Since he didn’t know anyone living in the city, his knowledge was limited to what he could find in newspapers and on the Internet. From these sources he would have learned that Juárez had become the perfect place to commit a crime.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 76-78 | Added on Monday, September 10, 2012, 04:39 PM “looks like nothing more than a cemetery … a cemetery from the year 2666, a cemetery forgotten under a dead or unborn eyelid, bathed in the dispassionate fluids of an eye that, for wanting to forget something, has ended forgetting everything.”

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 78-79 | Added on Monday, September 10, 2012, 04:39 PM 1998 acceptance speech for the Rómulo Gallego’s Prize,

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 95-96 | Added on Monday, September 10, 2012, 04:41 PM Bolaño once wrote that in the Americas, all modern fiction springs from two sources: The Adventures of Huckleberry Finn and Moby-Dick.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 131-32 | Added on Monday, September 10, 2012, 04:45 PM To pull off this kind of hyperrealism, he must have had the help of someone on the inside, someone whose interest in autopsy was as relentless as his own.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 139-40 | Added on Monday, September 10, 2012, 04:48 PM A novelist and arts journalist, González Rodríguez had launched his career during the 1980s by doing reviews for Carlos Monsiváis, a leading cultural critic and a pioneer of the nueva crónica, or New Journalism, style in Mexico.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 176 | Added on Monday, September 10, 2012, 04:51 PM Huesos en el desierto, González Rodríguez

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 195-97 | Added on Monday, September 10, 2012, 04:53 PM Once he drew these conclusions, there was no going back. “You’re in a hell,” he says, “that you don’t know why you’ve been chosen to live.” The heat incinerated many of his old illusions about accountability and justice, revealing Mexico’s black heart.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 226-28 | Added on Monday, September 10, 2012, 04:56 PM “He wanted to believe that there was a rational power that could conquer the criminal,” he observes. In fact, such a triumphant ratiocinator appears in all Bolaño’s novels—except for 2666. In Distant Star, the serial killer is caught by detective Abel Romero, with the help of a smart poet.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 236-37 | Added on Monday, September 10, 2012, 04:57 PM No, of course there’s a serial killer, González Rodríguez replied. But it’s not just one serial killer. I think there are at least two serial killers.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 261 | Added on Monday, September 10, 2012, 04:59 PM La negra espalda del tiempo.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 261 | Added on Monday, September 10, 2012, 04:59 PM González Rodríguez felt his stomach sink. Really, Roberto? he said. With my name? Yes,

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 264 | Added on Monday, September 10, 2012, 05:00 PM Mario Santiago

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 268-69 | Added on Monday, September 10, 2012, 07:20 PM And Huesos en el desierto is “not only an imperfect photograph—how could it be anything else—of evil and of corruption; it also transforms itself into a metaphor of Mexico and of Mexico’s past and of the uncertain future of all of Latin America.”

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 276 | Added on Monday, September 10, 2012, 07:21 PM It’s not clear whether the reporter who dies is the character “Sergio González.”

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 278 | Added on Monday, September 10, 2012, 07:22 PM Reporters Without Borders

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 300-302 | Added on Monday, September 10, 2012, 07:31 PM In this landscape of brutality and impunity, Santa Teresa seems less aberrant. It’s just one of many places where an underlying, pervasive evil has welled up and broken the surface. As it is now in Santa Teresa, the novel seems to say, as it has always been, as it shall be in the cemeteries of 2666. Evil is as widespread and eternal as the sea.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 306 | Added on Monday, September 10, 2012, 07:32 PM His own holy grail turns out to be a dead man’s diary he discovers in an abandoned shtetl.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 312-13 | Added on Monday, September 10, 2012, 07:33 PM Rulfo, who for me is one of the cornerstones of the Boom, is also left out.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 313-17 | Added on Monday, September 10, 2012, 07:33 PM Argentine writer, Ernesto Sábato (b. 1911) was a driving force in the Argentine surrealist scene. Much of his work is available in English. Uraguayan novelist and short story writer Juan Carlos Onetti (1909–1994) sought to blend the real and the fantastic in his fiction. His novella The Pit (1939) is one of the first works of modern Spanish-language literature. After publishing the short story collection The Burning Plain (1953) and the novel Pedro Párama (1955), Mexican author Juan Rulfo (1917–1986) stopped publishing narrative fiction, despite the enormous critical success of his books. Both Faulkner and García Márquez were influenced by Rulfo’s prose.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 323 | Added on Monday, September 10, 2012, 07:35 PM them. The work of Vargas Llosa, for example, is immense. It has thousands of entry points and thousands of exit points.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 327 | Added on Monday, September 10, 2012, 08:07 PM Books such as No One Writes to the Colonel are simply perfect.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 344-46 | Added on Monday, September 10, 2012, 08:09 PM RB: I’m a survivor. I feel enormous affection toward this project, notwithstanding its excesses, immoderations and deviations. The project is hopelessly romantic, essentially revolutionary, and it has seen the failure of many groups and generations of artists. Though, even now, our conception of art in the West is indebted to this vision.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 347-52 | Added on Monday, September 10, 2012, 08:10 PM RB: The truth for me—and I want to be very sincere—is that the idea of revolution had already been devalued by the time I was twenty years old. At that age, I was a Trotskyite and what I saw in the Soviet Union was a counterrevolution. I never felt I had the support of the movement of history. To the contrary, I felt quite crushed. I think that’s noticeable in the characters in The Savage Detectives. HS/MB: At some point in your life, we imagined that you were animated by great revolutionary ardor. RB: You imagined it correctly. I was against everything. Against New York and Moscow, against London and Havana, against Paris and Beijing. I even felt scared by the solitude entailed in radicalism.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 359-61 | Added on Monday, September 10, 2012, 08:11 PM RB: In one way or another, we’re all anchored to the book. A library is a metaphor for human beings or what’s best about human beings, the same way a concentration camp can be a metaphor for what is worst about them. A library is total generosity.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 364-65 | Added on Monday, September 10, 2012, 08:12 PM RB: Louis-Ferdinand Céline, a great writer and son of a bitch. Just an abject human being. It’s incredible that the coldest moments of his abjection are covered under an aura of nobility, which is only attributable to the power of words.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 370-71 | Added on Monday, September 10, 2012, 09:48 PM By the same token, young Spanish writers should be influenced by someone like Rodrigo Rey Rosa or Juan Villoro, two enormous writers.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 412-13 | Added on Tuesday, September 11, 2012, 09:52 AM According to Bolaño, the Argentine writer Adolfo Bioy Casares (1914–1999) wrote “the first and best fantastic novel in Latin America.”

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 415 | Added on Tuesday, September 11, 2012, 10:13 AM The Invention of Morel

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 415 | Added on Tuesday, September 11, 2012, 10:13 AM Perhaps Bolaño’s favorite author, Julio Cortázar

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 434-39 | Added on Tuesday, September 11, 2012, 10:19 AM All divisions are arbitrary, of course. When I thought about the south (the Southern Cone and Argentina), I thought about Cortázar, Silvina Ocampo’s delirious stories, Bioy Casares, and Borges (when you’re dealing with authors like these, rankings don’t matter: There is no “number one,” they’re all equally important authors), and I thought about that short, blurry novel by María Luisa Bombal, House of Mist (whose fame was perhaps more the result of scandal—she killed her ex-lover). I would place Vargas Llosa and the great de la Parra in the northern camp. But then things become complicated, because as you move even further north you find Juan Rulfo, and Elena Garro with A Solid Home (1958) and Recollections of Things to Come (1963). All divisions are arbitrary: There is no realism without fantasy, and vice versa.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 444-45 | Added on Tuesday, September 11, 2012, 10:21 AM Leopoldinas Dream, is available in English.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 445-46 | Added on Tuesday, September 11, 2012, 10:21 AM Chilean author María Luisa Bombal’s (1910–1980) work broke the dominant realism of the age with a fantastic and surreal style. Her major work, House of Mist (1947), is available in English translation.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 449-51 | Added on Tuesday, September 11, 2012, 10:22 AM when I write the only thing that interests me is the writing itself; that is, the form, the rhythm, the plot. I laugh at some attitudes, at some people, at certain activities and matters of importance, simply because when you’re faced with such nonsense, by such inflated egos, you have no choice but to laugh.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 469-72 | Added on Tuesday, September 11, 2012, 10:25 AM I know of other things that are even more amusing, amusing in the same way that literature is for me. Holding up banks, for example. Or directing movies. Or being a gigolo. Or being a child again and playing on a more or less apocalyptic soccer team. Unfortunately, the child grows up, the bank robber is killed, the director runs out of money, the gigolo gets sick and then there’s no other choice but to write.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 475-77 | Added on Tuesday, September 11, 2012, 10:26 AM Francisco de Aldana, Jorge Manrique, Cervantes, the chroniclers of the Indies, Sor Juana Inés de la Cruz, Fray Servando Teresa de Mier, Pedro Henríquez Ureña, Rubén Darío, Alfonso Reyes, Borges, just to name a few and without going beyond the realm of the Spanish language.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 509-11 | Added on Tuesday, September 11, 2012, 10:31 AM Form seeks an artifice; the story seeks a precipice. Or to use a metaphor from the Chilean countryside (a bad one, as you’ll see): It’s not that I don’t like precipices, but I prefer to see them from a bridge.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 520-24 | Added on Tuesday, September 11, 2012, 10:33 AM RB: Infrarealism was a kind of Dada á la Mexicana. At one point there were many people, not only poets, but also painters and especially loafers and hangers-on, who considered themselves Infrarealists. Actually there were only two members, Mario Santiago and me. We both went to Europe in 1977. One night, in Rosellón, France, at the Port-Vendres train station (which is very close to Perpignan), after having suffered a few disastrous adventures, we decided that the movement, such as it was, had come to an end.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 525-26 | Added on Tuesday, September 11, 2012, 10:33 AM Bolaño immortalized Santiago in The Savage Detectives as the Visceral Realist Ulises Lima.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 573-77 | Added on Tuesday, September 11, 2012, 10:57 AM I thought that I had finally acquired a type of invulnerability. But that all changed the moment my older child was born; that is to say, all of the fears and terrors I experienced as an adolescent re-emerged and duplicated, multiplied themselves by 100. See, I can put up with them myself, but I do not want my child to have to go through them. It’s frightening, and now I have a daughter besides. I won’t say anymore. I’ll start to cry. The only explanation I could give would be to start to cry. It’s beyond the beyond.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 595-97 | Added on Tuesday, September 11, 2012, 11:00 AM Unanimity pisses me off immensely. Whenever I realize that the whole world agrees on something, whenever I see that the whole world is cursing something in chorus, something rises to the surface of my skin that makes me reject it. They’re probably infantile traumas. I don’t see it as something that makes me proud.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 685-86 | Added on Tuesday, September 11, 2012, 11:41 AM An English translation of his novel The Museum of Eterna’s Novel will be available in 2010.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 697-98 | Added on Tuesday, September 11, 2012, 11:44 AM I’ll give it to you in descending order, owes a lot to The Temple of Iconoclasts by Rodolfo Wilcock,

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 699-700 | Added on Tuesday, September 11, 2012, 11:45 AM His work The Temple of the Iconoclasts, available in English, was a seminal text for Bolaño. He claims “buy it, steal it, borrow it, but read it.”

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 704 | Added on Tuesday, September 11, 2012, 11:45 AM Real and Imagined Portraits—my

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 713-15 | Added on Tuesday, September 11, 2012, 11:47 AM Above all, I think it is necessary that there be literary criticism—without accident—in our countries, not ten lines about an author the critic will probably never read again. That is to say, it’s necessary to have criticism that mends the literary landscape along the way.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 717-21 | Added on Tuesday, September 11, 2012, 11:48 AM I view criticism as a literary creation, not just as the bridge that unites the reader with the writer. Literary critics, if they do not assume themselves to be the reader, are also throwing everything overboard. The interesting thing about literary critics, and that is where I ask for creativity from literary criticism, creativity at all levels, is that he assumes himself to be the reader, an endemic reader capable of arguing a reading, of proposing diverse readings, like something completely different from what criticism tends to be, which is like an exegesis or a diatribe.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 740-41 | Added on Tuesday, September 11, 2012, 12:25 PM There stands the silence of Georg Büchner for example. He died at twenty-five or twenty-four years of age, he leaves behind three or four stage plays, masterworks. One of them is Woyzeck, an absolute masterwork.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 746-48 | Added on Tuesday, September 11, 2012, 12:26 PM We’ll never know if Büchner would have been bigger than Goethe. I think so, but we’ll never know. We’ll never know what he might have written at age thirty. And that extends across the whole planet like a stain, an atrocious illness that in one way or another puts our habits in check, our most ingrained certainties.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 756-57 | Added on Tuesday, September 11, 2012, 12:27 PM Soldiers of Salamis by Javier Cercas and is paid homage in Jorge Volpi’s last novel, An End to Madness,

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 790-91 | Added on Tuesday, September 11, 2012, 12:32 PM RB: Silvina Ocampo is one example of an author. Marcela Serrano is one example of a writer. You can measure light-years between one and the other.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 799-800 | Added on Tuesday, September 11, 2012, 12:33 PM Chilean poet Carlos Pezoa Véliz (1879–1908) embodies the melancholy at the core of Chilean and Latin American poetry. His style was clear and simple and, to Bolaño, appeared to be a direct representation of the Chilean people.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 813-14 | Added on Tuesday, September 11, 2012, 12:35 PM MM: Enrique Lihn, Jorge Teillier or Nicanor Parra? RB: Nicanor Parra above all, including Pablo Neruda and Vicente Huidobro and Gabriela Mistral.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 829-32 | Added on Tuesday, September 11, 2012, 12:37 PM MM: And to Salvador Allende? RB: Little or nothing. Those who have power—even for a short time—know nothing about literature; they are solely interested in power. I can be a clown to my readers, if I damn well please, but never to the powerful. It sounds a bit melodramatic. It sounds like the statement of an honest whore. But in short, that’s how it is.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 900 | Added on Tuesday, September 11, 2012, 12:45 PM Voltaire’s Philosophical Dictionary,

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 910-11 | Added on Tuesday, September 11, 2012, 12:47 PM RB: It must be a joke. I am the Latin American writer with the least promising future. But on that point, I am the type with the most past, which is what matters anyway.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 918 | Added on Tuesday, September 11, 2012, 12:48 PM MM: What bores you? RB: Empty discourse from the left. I take for granted the empty discourse from the right.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 920-22 | Added on Tuesday, September 11, 2012, 12:48 PM A professor of literary criticism at the University of Chile, Patricia Espinosa wrote a critical essay on Bolaño in 2003 entitled “Bolaño, un poeta junto al acantilado” (Bolaño, A Poet Close to the Cliff).

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 920-23 | Added on Tuesday, September 11, 2012, 12:48 PM A professor of literary criticism at the University of Chile, Patricia Espinosa wrote a critical essay on Bolaño in 2003 entitled “Bolaño, un poeta junto al acantilado” (Bolaño, A Poet Close to the Cliff). An Argentine writer, Celina Manzoni is a co-author of Roberto Bolaño: La escritura como tauromaquia (Roberto Bolaño: Writing as Bullfighting).

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 927-30 | Added on Tuesday, September 11, 2012, 12:49 PM MM: What is heaven like? RB: Like Venice, I’d hope, a place full of Italian men and women. A place you can use and wear down, a place that knows nothing will endure, including paradise, and knows that in the end at last it doesn’t matter. MM: And hell? RB: It’s like Ciudad Juárez, our curse and mirror, a disturbing reflection of our frustrations, and our infamous interpretation of liberty and of our desires.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 947-48 | Added on Tuesday, September 11, 2012, 12:51 PM MM: Does it scare you that someone might want to make a film version of the novel? RB: Oh, Mónica, I fear other things—much more terrifying things, infinitely more terrifying.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 952-56 | Added on Tuesday, September 11, 2012, 12:52 PM I’ll mention these only as the tip of the spear: Don Quixote by Cervantes, Moby-Dick by Melville. The complete works of Borges, Hopscotch by Cortázar, A Confederacy of Dunces by Toole. I should also cite Nadja by Breton, the letters of Jacques Vaché. Anything Ubu by Jarry, Life: A User’s Manual by Perec. The Castle and The Trial by Kafka. Aphorisms by Lichtenberg. The Tractatus by Wittgenstein. The Invention of Morel by Bioy Casares. The Satyricon by Petronius. The History of Rome by Tito Livio. Pensées by Pascal.

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Roberto Bolano - The Last Interview - Roberto Bolano (adam.bredenberg@gmail.com)

- Highlight Loc. 970-74 | Added on Tuesday, September 11, 2012, 12:54 PM RB: Many. From my generation I admire Sada, whose writing project I find the most bold, Villoro and Carmen Boullosa. Among the young writers, I am very interested in what Álvaro Enrique and Mauricio Montiel are doing, as well as Volpi and Ignacio Padilla. I continue to read Sergio Pitol, who writes better every day. And Carlos Monsiváis, who, according to Villoro, gave Taibo II or III (or IV) the nickname Pol Pit, which seems to me a real poetic find. Pol Pit. It’s perfect, isn’t it? Monsiváis keeps his nails sharp. I also like what Sergio González Rodríguez is doing