Roberto Bolaño

Roberto Bolaño’s Labyrinth

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Labyrinth

Take a look at the photo above. It’s a real photograph, but in a story published in The New Yorker last month, Roberto Bolaño creates a (fictional) story for each of the individuals seen in the photo. He goes in depth hypothesizing on how the characters are named, how they are dressed, why they are or aren’t looking at the camera, what’s going on in the background, and ultimately into behavior of the characters. The title of the story is “Labyrinth,” and it is fascinating:

The photo was taken in winter or autumn, or maybe at the beginning of spring, but certainly not in summer. Who are the most warmly dressed? J.-J. Goux, Sollers, and Marc Devade, without question: they’re wearing jackets over their turtleneck sweaters, and thick jackets, too, from the look of them, especially J.-J.’s and Devade’s. Kristeva is a case apart: her turtleneck sweater is light, more elegant than practical, and she’s not wearing anything over it. Then we have Guyotat. He might be as warmly dressed as the four I’ve already mentioned. He doesn’t seem to be, but he’s the only one wearing three layers: the black leather jacket, the shirt, and the striped T-shirt. You could imagine him wearing those clothes even if the photo had been taken in summer. It’s quite possible. All we can say for sure is that Guyotat is dressed as if he were on his way somewhere else. As for Carla Devade, she’s in between. Her blouse, whose collar is showing over the top of her sweater, looks soft and warm; the sweater itself is casual, but of good quality, neither very heavy nor very light. Finally, we have Jacques Henric and Marie-Thérèse Réveillé. Henric is clearly not a man who feels the cold, although his Canadian lumberjack’s shirt looks warm enough. And the least warmly dressed of all is Marie-Thérèse Réveillé. Under her light, knitted V-neck sweater there are only her breasts, cupped by a black or white bra.

All of them, more or less warmly dressed, captured by the camera at that moment in 1977 or thereabouts, are friends, and some of them are lovers, too. For a start, Sollers and Kristeva, obviously, and the two Devades, Marc and Carla. Those, we might say, are the stable couples. And yet there are certain features of the photo (something about the arrangement of the objects, the petrified, musical rhododendron, two of its leaves invading the space of the ficus like clouds within a cloud, the grass growing in the planter, which looks more like fire than grass, the everlasting leaning whimsically to the left, the glasses in the center of the table, well away from the edges, except for Kristeva’s, as if the other members of the group were worried they might fall) that suggest a more complex and subtle web of relations among these men and women.

If you’re a fan of fiction, don’t miss it.

Roberto Bolaño on Exile and Writing

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I enjoyed reading Roberto Bolaño’s essay Exiles in The New York Review of Books. Exiles was drawn from Between Parentheses: Essays, Articles and Speeches (1998–2003), and translated by Natasha Wimmer.

Here is how Bolaño describes exile:

To be exiled is not to disappear but to shrink, to slowly or quickly get smaller and smaller until we reach our real height, the true height of the self… Exile is a question of tastes, personalities, likes, dislikes. For some writers exile means leaving the family home; for others, leaving the childhood town or city; for others, more radically, growing up. There are exiles that last a lifetime and others that last a weekend. Bartleby, who prefers not to, is an absolute exile, an alien on planet Earth. Melville, who was always leaving, didn’t experience—or wasn’t adversely affected by—the chilliness of the word exile. Philip K. Dick knew better than anyone how to recognize the disturbances of exile. William Burroughs was the incarnation of every one of those disturbances.

I also really like the thought process here (especially the part I emphasize below):

Probably all of us, writers and readers alike, set out into exile, or at least a certain kind of exile, when we leave childhood behind. Which would lead to the conclusion that the exiled person or the category of exile doesn’t exist, especially in regards to literature. The immigrant, the nomad, the traveler, the sleepwalker all exist, but not the exile, since every writer becomes an exile simply by venturing into literature, and every reader becomes an exile simply by opening a book.

But the passage below is my favourite, about how writers are different from other professions:

No one forces you to write. The writer enters the labyrinth voluntarily—for many reasons, of course: because he doesn’t want to die, because he wants to be loved, etc.—but he isn’t forced into it. In the final instance he’s no more forced than a politician is forced into politics or a lawyer is forced into law school. With the great advantage for the writer that the lawyer or politician, outside his country of origin, tends to flounder like a fish out of water, at least for a while. Whereas a writer outside his native country seems to grow wings. The same thing applies to other situations. What does a politician do in prison? What does a lawyer do in the hospital? Anything but work. What, on the other hand, does a writer do in prison or in the hospital? He works. Sometimes he even works a lot. And that’s not even to mention poets. Of course the claim can be made that in prison the libraries are no good and that in hospitals there are often are no libraries. It can be argued that in most cases exile means the loss of the writer’s books, among other material losses, and in some cases even the loss of his papers, unfinished manuscripts, projects, letters. It doesn’t matter. Better to lose manuscripts than to lose your life. In any case, the point is that the writer works wherever he is, even while he sleeps, which isn’t true of those in other professions.

Would you agree with Roberto Bolaño’s comparison? Note that you may sympathize with Bolaño’s description of exile (first quoted passage), but disagree with his assessment of writers.

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Aside: on my reading list is Roberto Bolaño’s 2666.