A Fool's Sixth Installment About Fate

Nothing cerebral about this at all, an entirely subjective view of pages 291 through 349, The Part About Fate. . .

Roberto Bolaño had to be a true fan of films. He was clearly inspired in part by film when he undertook this section and appears to have attempted to create in print the atmosphere of film noir. This recreation is complete with a retrospective voice-over at the very beginning of this part as we pan in on a reporter at work at his desk in New York. I know I mentioned this before, but I liked it.

Actually, I think he succeeded in recreating the atmosphere of a descendant of film noir. Fate discussed David Lynch with the desk clerk at page 339. The atmosphere of this part reminded me most of a David Lynch film that they did not mention, Blue Velvet, a film that truly freaked me out when I first saw it lo, these many years ago.

While we are on the subject of that desk clerk, I was struck by something he said:

“Every single thing in this country is an homage to everything in the world, even the things that haven't happened yet,” he said.

It was as if he were telling us, “This all will be playing at a theater near you soon, folks.”

At any rate we went into Charly Cruz's house at page 319 with everybody a little popped after the boxing match and a night out in the nether world of Santa Teresa. I experienced suspense. I admit it. I am probably the most cooperative reader around. I willingly suspend my disbelief at the drop of a hat. When Oscar encountered the Virgin of Guadalupe in the garage on the way in, I saw it as a portent. Something was going to happen for a change. It was only later when Oscar saw her again on the way out that I concluded the Virgin of color had blessed the man of color with a wink.

The Virgin of Guadalupe has historically blessed violence in the service of a sacred cause many times. When we saw what I took to be the first reel of a snuff film, another video fragment, and Rosa Amalfitano had disappeared in that house somewhere, I wanted Oscar to do something. I wanted Oscar to be the first major character in 323 pages to do something. If the only thing Oscar held sacred was beauty in the form of a pretty girl with perfect features, that was good enough for me.

I realize now that I was reading these scenes from the point of view of the other Oscar, Óscar Amalfitano. I myself am a father with beautiful daughters who sometimes did not display the sense that God gave an eel when they were younger. I did not want to know everything they did either, as long as they could handle it. But this was a different deal here. Little Rosa Amalfitano had gotten in over her head.

So then, what did my man do? (He suddenly became my man.) He dropped Corona with one punch and picked up his handgun. Count Pickett he may not have been, but my man had some stopping power in that fist. He had strained to let fly at somebody several times earlier in this part. He chose the perfect time and place to land one. In these new circumstances that sick Chucho Flores was immediately cured of his psychotic possessiveness. Good for a quick, bitter laugh for me.

It was a good little piece of violence, cathartic after the suspense. "Carthartic." A pissant English Department kind of word. Actually, I wanted to smell some cordite in the air. You can't always get what you want, but if you try sometimes, you just might find that you get what you need. Isaac Hayes was singing the Theme from Shaft in my head. I am a sucker for stuff like this.

I still do not understand, however, why Oscar and Rosa gave that jerk Chucho Flores a ride to the bus stop though.

A satisfying conclusion for me, too. Óscar Amalfitano finally found the wherewithal to do something. Calm did not let him down. It made no difference whether the guy in front of the house was a cop or a greaser. Amalfitano did well in diverting his attention after fixing up Rosa with some money and telling them to get out of there. And we were on the way to the border.

”They're good people, friendly, hospitable. Mexicans are hardworking, they're hugely curious about everything, they care about people, they're brave and generous, their sadness isn't destructive, it's life giving,” said Rosa Amalfitano as they crossed the border into the United States.
“Will you miss them?” asked Fate.
I'll miss my father and I'll miss the people,” said Rosa.

Such a truly cheap trick that by Bolaño. Still, it more than worked for me.

I sat back and relaxed in the sun. Rosa was out of there. Her father will never demand that she return to visit him in that mental lockup in Santa Teresa or Hermosillo. Nor will he forbid it either. But hopefully—a hope not entirely justified by the facts available—I clung to the thought that she will develop good sense, take comfort that Professor Pérez will visit her father regularly, and stay the hell out of there herself. Her father will be entirely satisfied with letters from her as he was with Lola. That scenario is not so bad, as he himself said.

If all this had to be purchased at some amorphous psychic cost to Oscar, that simply made him all the more admirable to me.

As for Rosa Méndez, Schopenhauer's woman--she likes to have fun; life is short--Rosita is clearly going down. But we cannot save everyone, can we?

* * * * * * * * * * * *

Interspersed with this is the story of Guadalupe Roncal, yet another reporter pulled out of her normal milieu, the city desk, and transformed into an anonymous crime reporter—after the real crime reporter had been tortured and murdered.

No one pays attention to these killings, but the secret of the world is hidden in them.

It is through Ms. Roncal that we met Nietzsche's Superman. If I had to interview Nietzsche's Superman, I would not know what questions to ask him either. I cannot help but think that we will learn something more about the nature of that party going on back there in the cell block when he first appeared.

A Fool's Fifth Installment About Fate

Everything I write here about 2666 ought to be read with an implicit question mark behind it. I earned my living for years saying things that I was not entirely sure of or that I flatly did not believe to be true. I must have been somewhat convincing because I did earn a living this way. The question marks here are going to be explicit. I am going to mash the question mark key occasionally.

Before we move on from page 290, I wish to mention some miscellaneous things that interested me in the beginning of The Part About Fate in the hope that one or two items may have interested others, too. There may be some repetition here of things discussed elsewhere, forgivable repetition, I hope.

1. It is repeatedly drummed into us that Oscar Fate's understanding of what goes on around him is imperfect, as I suppose is the case with all of us. Earlier, I mentioned his inability to understand the words of the two women at the funeral, “words of consolation or rebuke.” Page 236.

At last a taxi stopped. When he was about to close the door he heard something like a shot. He asked the taxi driver whether he'd heard it. The taxi driver was Hispanic and spoke very bad English.
“Every day you hear more fantastic things in New York,” the driver said.
“What do you mean, fantastic?” he asked.
“Exactly what I say, fantastic,” said the taxi driver.

Page 239.

So did the Hispanic taxi driver with his bad English intend some word other than “fantastic?” Maybe. In any event, we are soon to go into Mexico with Oscar Fate who cannot speak Spanish, which will only enhance his imperfect understanding of what is going on.

This sort of thing happens again with the chant of the little girls jumping rope in Detroit at Temple A. Hoffman Memorial Playground, “something about a woman whose legs and arms and tongue had been amputated.” Fate is “[c]ompletely disoriented.” Page 245-46.

During the overheard conversation between Kessler and the young man, the young man “. . . said something about inspiration. All Fate heard was: you've been an inspiration to us.”

Anyway, you get the idea. This sort of thing occurs repeatedly. The upshot is that our own perceptions as readers are doubly imperfect.

2. Related to item one is the fact that Oscar is being sent on an assignment wherein he is out of his usual element, politics and social issues relating to the black community. (He will not be the last journalist in this predicament that we will encounter.) It is as if the sports editor assumes that any black man ought to know something about boxing. Nobody stereotypes African-Americans like other African-Americans.

3. How can one not wonder what the hell the deal is with Oscar's stomach? I have studied all the contexts in which he vomits or suffers stomach discomfort, and I find no clue.

4. Antonio Jones' answer to the question of why he kept doing what he was doing was remarkably simple and remarkably funny:

Because someone has to keep the cell operative.

Page 258.

You dummy, Oscar.

5. Dick Medina's television news report on the woman from Arizona who had disappeared in Arizona obviously foreshadows. I find it fascinating that Oscar is asleep and dreaming of the last Communist in Brooklyn while it airs. I am not sure why I find it fascinating, but I do. Page 258.

6. Am I weird to be mulling over those identical twins with the Mexican woman in the diner as much I do? Pages 264-65. Maybe it is just that Espinoza, Pelletier, and Norton have me seeing threesomes everywhere. You must admit, though, that identical twins would be a nice touch.

7. Consider this:

She had a hoarse, nasal voice and she didn't talk like a New York secretary but like a country person who has just come from the cemetery. This woman had firsthand knowledge of the planet of the dead, thought Fate, and she doesn't know what she is saying anymore.

Page 273.

Could it be that Lola did not die and is now cleaning office buildings in New York instead of Paris? Or is this Lola's ghost on the other end of the line?

8. Say what, Omar?

”What are you looking at?” Omar Abdul said to him.
“The landscape,” he said, “it's one sad landscape.”
Next to him, the fighter scanned the horizon and then he said: “That's just how it is here. It's always sad at this time of day. It's a goddamn landscape for women.”
“It's getting dark,” said Fate.

Page 275.

Believe it or not, I am not blind to Bolaño's faults. Quite honestly, I think he overdoes it with the dreams and the mirrors, tropes that are a bit shopworn, don't you think? His foreshadowing can be a bit ham-handed. And the guy can get downright full of himself at times. I find it thoroughly improbable that Oscar Abdul would say this. As a result, this is too transparent an effort to create an atmosphere of foreboding. Too forced.

9.

"This is a big city, a real city,” said Chucho Flores. “We have everything. Factories, maquiladoras, one of the lowest unemployment rates in Mexico, a cocaine cartel, a constant flow of workers from other cities, Central American immigrants, an urban infrastructure that can't support the level of demographic growth. We have plenty of money and poverty, we have imagination and bureaucracy, we have violence and desire to work in peace. There's just one thing we haven't got,” said Chucho Flores.
Oil, thought Fate, but he didn't say it.
“What don't you have?” he asked.
“Time,” said Flores. “We haven't got any fucking time.”
Time for what? thought Fate. . . .

I love that passage. That passage boils with meaning in my opinion. And Fate's thought of oil is funny to boot. Still, time for what? I have no idea either.

10. Johnny Swiggerson is a name very much like Dirk Diggler. Page 281.

11. Can we safely assume that Oscar knows how to kiss because he is critical of that dark-haired girls ability? Page 281. It is usually the woman who complains of the man's ability at this, is it not? This one is not keeping me awake. However, I cannot recall another literary kiss that came about quite so abruptly. It was even more abrupt than, “Suddenly, they were kissing.” We bypassed that. “As he and the dark-haired girl who had come with Rosita Méndez were kissing. . . .”

12. Climacteric? Climacteric? Page 289. Male menopause? I am being stupid here, I know. Somebody please help. I need to look at the original Spanish there.

Enough. Let us read on.

And crawling, on the planet's face, some insects, called the human race. Lost in time, and lost in space... and meaning.

The Criminologist in The Rocky Horror Picture Show.

A Fool's Fourth Installment About Fate

On the way from Tucson to the border, Oscar overhears a conversation in a diner between a young man and a Professor Kessler, obviously some sort of expert in criminology. Excerpts from Professor Kessler's mini-lecture delivered to the young man:

In the nineteenth century, toward the middle or the end of the nineteenth century, said the white-haired man, society tended to filter death through a fabric of words. Reading news stories from back then you might get the idea that there was hardly any crime, or that a single murder could throw a whole country into tumult. We didn't want death in the home, or in our dreams and fantasies, and yet it was a fact that terrible crimes were committed, mutilations, all kinds of rape, even serial killings. Of course most of the serial killer were never caught. Take the most famous case of the day. No one knew who Jack the Ripper was. Everything was passed through a filter of words, everything trimmed to fit our fear. What does a child do when he's afraid? He closes his eyes. What does a child do when he's about to be raped and murdered? He closes his eyes. And he screams, too, but first he closes his eyes. Words served that purpose. [Emphasis mine.]

Professor Kessler, after widening his contemplations to the eighteenth and seventeenth centuries as well, then explains that in order for a murder to cause a sensation, it had to be a murder committed by people with victims who were both a part of society. Nobody cared if 20% of the “merchandise” in the holds of the slave ships died before delivery.

The ones killed in the Commune weren't part of society, whereas the woman killed in a French provincial capital and the murderer on horseback in Virginia were. What happened to them could be written, you might say, it was legible. That said, words back then were mostly used in the art of avoidance, not of revelation. Maybe they revealed something all the same. I couldn't tell you.

And then Professor Kessler's opinions:

“All right, then,” said the white-haired man. “I'll tell you three things I'm sure of: (a) everyone living in that city is outside of society, and everyone, I mean everyone, is like the ancient Christians in the Roman circus; (b) the crimes have different signatures; (c) the city seems to be booming, it seems to be moving ahead in some ineffable way, but the best thing would be for every last one of the people there to head out into the desert some night and cross the border.”

After this, Fate reads that passage from The Slave Trade by Hugh Thomas that is a perfect demonstration of filtering the death in the holds of those slave ships through a fabric of words. That book has been discussed earlier.

I am wondering if, when Bolaño wrote this, he was considering how words might be used in the service of revelation rather than avoidance in connection with the women's deaths in Santa Teresa, clearly people outside society as Professor Kessler explains it.

Or alternatively, if he wrote this after having written The Part About the Crimes--which I do not believe he did--perhaps he was explaining that he had tried to use words in the service of revelation rather than avoidance when he wrote that part.

It seems obvious to me that one endeavor in this novel is an attempt to make those murders “legible” in a way that they could not be made legible in news reports and the like, and in the process make death itself more "legible."

At the same time, I am in no way suggesting that Bolaño was any sort of social crusader. I am not saying that he was not either. Whether he was or was not does not make any difference to me.

But that is only one of the endeavors. When I am foolish enough mention 2666 in conversation, for example when I am asked what I am reading lately, often the person will say something like, "Oh, yeah. That is the novel about the murders in Juarez, isn't it?"

For the sake of keeping the conversation light and moving, I always lie and say, "Yes. That's what it's about."

A Fool's Third Installment on Fate: Meaning

Yesterday I wrote a reply to a note by Maria at wwww.bolanobolano.com, a brilliant person whom I have known for years. The gist of it was that middle class people derive meaning in life from the things they buy. When they purchase a copy of 2666, there is much gnashing of teeth when they do not find meaning in it. I mashed the “Post” button.

Within minutes I realized that was not close to the idea that I wished to propose nor was it at all in the spirit with which I wished to propose it. For one thing, I am aware that the phrase “middle class” is never uttered without a sneer by some. I was not sneering. After all, I are one. I was too lazy to come up with a phrase less freighted with that baggage. But what would that have been? "Bourgeois people?"

Then the problem was that I could not figure out how to take down that reply. I considered for time posting a reply to my own reply, a reply that screamed, “This man is a cretin!” Then I said to myself, “What the hell? It is not as if I accidentally discharged my pistol and killed a child.” I went about my business. Now I feel pretty much as if I had accidentally discharged my pistol and killed a child.

I gnash my teeth more than most as is demonstrated over and over here. It is in the nature of the beast.

All I wished to suggest was that in former centuries people derived meaning from faith. Before that was magic. With the erosion of faith, people began to derive meaning from the things that money can buy. Now materialism is proving catastrophically unsatisfactory globally and spiritually.

Maybe one of the questions being illustrated by 2666 is, “What next are we going to try in our attempt to find meaning in an existence the meaning of which is obscure at best?” Again, maybe the book as a whole, through the response of mystification that it elicits in us, illustrates that question as opposed to posing the question more directly, or even indirectly, in a particular piece of text within it.

Assuming we get by Amalfitano's philosophers' question of whether we actually exist at all, that is, whether our hand is really a hand.

If Bolaño has big questions in mind, he never asks them. He illustrates them. The problem is that the illustrations are Rorschach tests.

Maria had proposed a meaning, extrapolated from a section of the novel, that somebody needs to do something about these murders of women in the hundreds. Maria is brilliant, and I look forward to where she goes as she pursues that in the context of this novel. I say that with not a hint of sarcasm.

The kind of thing I said in that reply spilled from my partially fossilized left brain. Meanwhile, my right brain bubbled with delight when Oscar Fate later actually does do something—not much in the big picture of hundreds of murders, but something. Óscar Amalfitano, relying on calm just as the voice had admonished him, later does do something, too—again, not much, but something.

In the end, however, we are right back at the issue that Maria was pondering.


* * * * * * * * * * * *

For example, . . .

I cannot help but gnash my teeth regarding the meaning of the maquiladores churning out consumer goods, the stacks of garbage generated by the city, the parking lots carved into the sides of mountains, the stink of the place and such. Maybe these are nothing more than manifestations of the wonderful economic growth of the city as extolled by a couple of the less appealing characters, but the novel certainly has an apocalyptic feel about it.

The biocatastrophe people foresee a multifaceted worldwide apocalypse resulting from the infestation of the earth with human beings. That biocatastrophe, according them, will feature profound climate change, increasingly scant water, peak oil, diversified and intensifying waves of “ecotoxins” and “ecocontaminants,” antibiotic-resistant plagues, total collapse of ecosystems, and last but not least, the implosion of the monetary system—all occurring concurrently.

In other words war, famine, pestilence, and death with no rationale and no meaning from our perspective in the middle of it. No king's writ is going to hold the center together. They blame this all on the consumer economy in the broad sense of the phrase, including the consumer economy of weapons. They foresee us all ultimately being on The Road with Cormac McCarthy, another acclaimed novel in which folks strain to find meaning.

There are those that take the position that we are past the tipping point already. The biocatastrophe is already inevitable. There are those that insist that if we do something now, the biocatastrophe might be avoided.

One might argue that Roberto Bolaño is in part offering us a vision of the front edge of this biocatastrophe, that with his recurrent rat imagery, he is suggesting that there are too many rats in the cage. It might be said that his vision of the biocatastrophe places an emphasis on the dimension of lawlessness.

I discarded that possible reading of the Rorschach test. I do not buy any of that biocatastrophe stuff. The very word implies a value judgment. Oscar Fate contemplated the dinosaurs in Temple A. Hoffman Memorial Park, which, had they had the gift of self-awareness, would certainly have regarded their own extinction as a biocatastrophe.

It would only be a massive catastrophe from the human point of view. From the planet's point of view, the Earth would simply be cleansing itself of us in preparation for righting itself over geologic time. In which case the more women murdered in Santa Teresa the better. The planet is not as fragile as folks imagine. Bolaño may just as well be telling us to relax. Everything is going to be fine.

My current working theory is that the author has cleverly chosen to speak his meaning to us through the ditzy philosopher, Rosa Méndez: Have fun. Life is short.

* * * * * * * * * * * *

Notwithstanding all that, I do still believe that it is premature at a point less than halfway through this novel to become frustrated that the relationship between the five parts is not yet clarifying let alone clear, that the overriding theme or theme of the book is not apparent, or that the large meaning of it all is not emerging from the mist. That might be legitimate cause for dissatisfaction when nearing the halfway point of a conventional novel. It might. But this is not one of those.

Perhaps the best thing to do at this point is to pretend that it has no meaning, and rather, focus on trying to understand the characters to the extent we can, making sure we know what happens to the characters, comparing impressions of the imagery, trading notes on the other authors to whom this author alludes, and the like. There will be whatever lifetime is left to each of us after finishing the novel to ponder the big questions.

This is only a suggestion.

Also, I believe that I need to give considerably more thought to my replies over in www.bolanobolano.com before mashing the "Post" button.

Libertad

At page 803 of this novel, something occurred to me. It was an idea with the same beautiful simplicity and clarity of the little bell that I used to hear inside my head at cocktail hour. When I have finished this novel, there will be no point in reading any other novel for the rest of my life. I will finally be done with all of that.

I have had this vague feeling for some time that there was something else that I needed to correct, some further, last little personal adjustment. Clearly, this is it.

The ways in which novels have tricked up my head throughout my life to this point make the ways that liquor and women tricked up my head look like paltry, harmless eccentricities. First of all, I had no business ever undertaking great novels in the first place. I do not have the intellectual wherewithal to properly metabolize the best of them. And of course, I always tried to read the best. Why fuck around smoking kid's stuff when you can mainline a freight train?

Given that simple fact, to think that I chose English literature as my major at university! That is illustrative on several levels. It never crossed my mind to do my undergraduate work in a field in which one could earn money. Never crossed my mind.

Later, I practiced law--in the sense of the pure work, relatively successfully by the way. But there was never any time, energy, or inclination left over to think about money or care about money. No, all of my quality time, energy, and inclination was devoted to reading goddamned novels, when I was not talking about novels in a bar, that is. Pissing away my time on dreams that I was not mentally equipped to dream.

Second, I had no capability for keeping a proper emotional distance from these bastards. These novelists. Bellow, Dostoyevsky, Tolstoy, Flaubert, Hemingway, Camus, and that too clever Updike, to name a few. The females are just as bad or worse. George Eliot. Austen. Those damned Brontë strumpets. I could not read novels for a little harmless escape and relaxation like a normal person not afflicted with this nameless disease. No, I made those novelists' problems my own problems, and let me assure you that their problems are all of the first order of complexity no matter how much some of them may make you laugh.

Perhaps I should have tried to start a conversation with one of those women to whom I was married, but I was too busy with Faulkner or Melville. I was more enamored with Eula Varner of Yoknapatawpha County (downright hot for her in fact) than I was with any of that crowd of real women. God, I feel sorry for them in retrospect.

This has been a bane of my existence. A plague upon my house, when I had a house. A plague upon my apartment, when I had an apartment. Clichés those, but I am too upset thinking about this to be able to come up with something original. I am not upset about myself. I have survived it after all and in a manner of speaking. Those novelists' problems are not going to be my problems any more.

I am upset thinking about those few young people out there starting to read novels. Not only do their parents do nothing to stop it, many times they encourage those young people in this incredibly dangerous endeavor. As for the proper authorities, they seem perfectly oblivious.

My own parents, God bless them, could have done something to save me. But not being readers themselves, they paid no attention whatsoever to what my young self was reading. Furthermore, they were utterly lax about enforcing lights out in my bedroom. They were too preoccupied with whatever was going on in their bedroom. So there I was at the age of thirteen, fourteen, or fifteen sitting up until 3:00 a.m. reading The Naked and the Dead by Norman Mailer or some other such mind rot. (I do remember that the word “naked” in that title caught my attention at the time.) I did not even have to hide under a blanket with the book and a flashlight.

The way that I see it, we could lose some of the best and brightest of another generation in just that way. Young people who might otherwise accumulate capital and invest it for the general benefit of mankind. Where would we be, for example, if Bill Gates had been screwing around reading novels and staring off into space instead of devoting every bit of his time, energy, and inclinations to devising MS-DOS and contractually fucking IBM? Now he is applying a chunk of the capital that he accumulated in an effort to help feed the world. (Is that the nature of his philanthropy, or is it some other wonderful thing that he and his bride are doing? I cannot remember.)

So this is Roberto Bolaño's posthumous personal gift to me, this novel entitled 2666. It is as if he handed this to me and said, “Señor Steve, when you finish this novel, you need not read another. It will all be over, you can put it all behind you, and you can truly breathe easily at last.”

If I get the urge to read a novel in the future, if I flirt with a relapse, I will simply reread this one. The book actually consists of five different novels, each of which will be entirely new to me every time I read it. That will do no further harm. In other words, I will never be done with this one and on to another novel with a whole new set of problems. That is the thing to be avoided here.

So that's it. No more. It's all over. I mean it. Don't laugh. I am serious.