By Roberto Bolaño
THE POSTHUMOUS MASTERWORK FROM “ONE OF THE GREATEST AND MOST INFLUENTIAL MODERN WRITERS” (JAMES WOOD, THE NEW YORK TIMES BOOK REVIEW) Composed within the final years of Roberto Bola?o’s existence, 2666 was once greeted throughout Europe and Latin the USA as his maximum fulfillment, surpassing even his prior paintings in its strangeness, attractiveness, and scope. Its throng of unforgettable characters contains teachers and convicts, an American sportswriter, an elusive German novelist, and a teenage pupil and her widowed, mentally risky father. Their lives intersect within the city sprawl of SantaTeresa—a fictional Ju?rez—on the U.S.-Mexico border, the place enormous quantities of younger manufacturing facility employees, within the novel as in lifestyles, have disappeared.
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Additional info for 2666: A Novel
If Norton’s closest friend (she had none) had asked which of the two friends she had a better time with in bed, Norton wouldn’t have known what to say. Sometimes she thought Pelletier was the more skillful lover. Other times, Espinoza. Viewed from outside, say from a rigorously academic standpoint, one could maintain that Pelletier had a longer bibliography than Espinoza, who relied more on instinct than intellect in such matters, and who had the disadvantage of being Spanish, that is, of belonging to a culture that tended to confuse eroticism with scatology and pornography with coprophagy, a confusion evident (because unaddressed) in Espinoza’s mental library, for he had only just read the Marquis de Sade in order to check (and refute) an article by Pohl in which the latter drew connections from Justine and Philosophy in the Boudoir to one of Archimboldi’s novels of the 1950s.
Liz Norton’s voice praised the neighborhood and the efforts of the people who were setting it back afloat. Morini thought that afloat was wrong, despite its maritime ring. In fact, as they ate dessert he felt like weeping, or better yet, fainting, sliding gently out of his chair with his eyes fixed on Norton’s face, and never waking up. But now Norton was telling a story about a painter, the first to settle in the neighborhood. He was a young man, thirty-three or so, known on the scene but not what you’d call famous.
Sgonfiotti alformaggio Sgonfiotti alia ricotta Sgonfiotti di vento Crespelle Dolce di tuorli di uovo Uova regali Dolce alla panna Dolce alle nod Dolce di testoline di mom Dolce alle barbabietole Dolce di burro e zucchero Dolce alia crema Dolce di mamey By the time he got to dolce di mamey, the stranger seemed to have fallen asleep and Morini left the Italian Gardens. The next day was much like the first. This time Norton came to meet him at the hotel, and as Morini was paying the bill she put his only suitcase in the boot of her car.
2666: A Novel by Roberto Bolaño