This link has been bookmarked by 1 people . It was first bookmarked on 09 Nov 2008, by someone privately.
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09 Nov 08
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When so many accept as their inevitable subject the long odds the universe gives the aspirations of our species, degraded as it finds itself by the brutalities of animal instinct and time’s remorseless toll, books may seem to disqualify themselves from grace: how could such losers cobble together anything particularly sublime?
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Bolaño won the race to the finish line in writing what he plainly intended, in his self-interrogating way, as a master statement. Indeed, he produced not only a supreme capstone to his own vaulting ambition, but a landmark in what’s possible for the novel as a form in our increasingly, and terrifyingly, post-national world.
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“In it Lola told him that she had a job cleaning big office buildings. It was a night job that started at 10 and ended at 4 or 5 or 6 in the morning. . . . For a second he thought it was all a lie, that Lola was working as an administrative assistant or secretary in some big company. Then he saw it clearly. He saw the vacuum cleaner parked between two rows of desks, saw the floor waxer like a cross between a mastiff and a pig sitting next to a plant, he saw an enormous window through which the lights of Paris blinked, he saw Lola in the cleaning company’s smock, a worn blue smock, sitting writing the letter and maybe taking slow drags on a cigarette, he saw Lola’s fingers, Lola’s wrists, Lola’s blank eyes, he saw another Lola reflected in the quicksilver of the window, floating weightless in the skies of Paris, like a trick photograph that isn’t a trick, floating, floating pensively in the skies of Paris, weary, sending messages from the coldest, iciest realm of passion.”
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In the manner of James Ellroy, but with a greater check on both prurience and bathos, Bolaño has sunk the capital of his great book into a bottomless chasm of verifiable tragedy and injustice.
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