Roberto Bolaño died in 2003, age 50, and left behind a frenzied body of work that has embodied him as a giant of Latin American literature. He received unanimous critical praise for 2666 posthumously, despite primarily being a struggling poet for much of his life, only really turning to literature and fiction for his last ten years on Earth. The Return, translated by Chris Andrews and published in English in 2010, is a collection of short stories initally contained within Bolaño’s two Spanish collections, Llamadas Telefonicas (1997), and Putas Asesinas (2001). With much of Bolaño’s work, it is generally dark in tone but often deeply personal, with stories emerging from reminiscing friends, or reliving past and repressed memories.
The titular The Return is arguably the pick of the stories: a revolting and surreal story of a celebrity necrophiliac, with a tantalising opening line (“I have good news and bad news. The good news is there is life (of a kind) after this life. The bad news is that Jean-Claude Villeneuve is a necrophiliac.”) But in truth there are many fascinating tales within. Detectives contains no prose or description, only the speech between two detectives as they drive through the night, and which is loosely based on Bolaño’s arrest and imprisonment during the Pinochet regime in his native Chile, where he was allegedly allowed to escape by prison guards he had once attended college with). Prefiguration of Lalo Cura follows the childhood memories of a man whose mother was a pornographic actress, a deeply disturbing look into the adult film industry and Latin America as a whole. Photos and Meeting with Enrique Lihn are surreal nightmares of which nothing is truly certain.
Not every story is up to the high standards of those mentioned above but all do share that awful quality of foreboding terror and violence, while life continues to float on by in its absurd and accepted normality. A brilliant insight into the mind of Roberto Bolaño.