From Publishers Weekly
Starred Review. Last year's The Savage Detectives
by the late Chilean-Mexican novelist Bolaño (1953–2003) garnered extraordinary sales and critical plaudits for a complex novel in translation, and quickly became the object of a literary cult. This brilliant behemoth is grander in scope, ambition and sheer page count, and translator Wimmer has again done a masterful job. The novel is divided into five parts (Bolaño originally imagined it being published as five books) and begins with the adventures and love affairs of a small group of scholars dedicated to the work of Benno von Archimboldi, a reclusive German novelist. They trace the writer to the Mexican border town of Santa Teresa (read: Juarez), but there the trail runs dry, and it isn't until the final section that readers learn about Benno and why he went to Santa Teresa. The heart of the novel comes in the three middle parts: in The Part About Amalfitano, a professor from Spain moves to Santa Teresa with his beautiful daughter, Rosa, and begins to hear voices. The Part About Fate, the novel's weakest section, concerns Quincy Fate Williams, a black American reporter who is sent to Santa Teresa to cover a prizefight and ends up rescuing Rosa from her gun-toting ex-boyfriend. The Part About the Crimes, the longest and most haunting section, operates on a number of levels: it is a tormented catalogue of women murdered and raped in Santa Teresa; a panorama of the power system that is either covering up for the real criminals with its implausible story that the crimes were all connected to a German national, or too incompetent to find them (or maybe both); and it is a collection of the stories of journalists, cops, murderers, vengeful husbands, prisoners and tourists, among others, presided over by an old woman seer. It is safe to predict that no novel this year will have as powerful an effect on the reader as this one. (Nov.)
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“Bolaño’s masterwork . . . An often shockingly raunchy and violent tour de force (though the phrase seems hardly adequate to describe the novel’s narrative velocity, polyphonic range, inventiveness, and bravery) based in part on the still unsolved murders of hundreds of women in Ciudad Juárez, in the Sonora desert near the Texas border.” —FRANCISCO GOLDMAN, The New York Review of Books
“Not just the great Spanish-language novel of [this] decade, but one of the cornerstones that define an entire literature.” —J. A. MASOLIVER RÓDENAS, La Vanguardia
“One of those strange, exquisite, and astonishing experiences that literature offers us only once in a very long time . . . to see . . . a writer in full pursuit of the Total Novel, one that not only completes his life’s work but redefines it and raises it to new dizzying heights.” —RODRIGO FRESÁN, El País