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2666: A Novel
 
 

2666: A Novel (Paperback)

by Roberto Bolano (Author)
4.5 out of 5 stars  See all reviews (4 customer reviews)
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Product Description

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.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. --This text refers to the Hardcover edition.


Review

"A masterpiece...the most electrifying literary event of the year."--Lev Grossman, Time

"Indeed, Bolaño produced not only a supreme capstone to his own vaulting ambition, but a landmark in what's possible for the novel as a form in our increasingly, and terrifyingly, postnational world." --Jonathan Lethem, The New York Times Book Review

"A work of devastating power and complexity, a final statement worthy of a master."--Adam Mansbach, The Boston Globe

"Bolaño's most audacious performance . . . It is bold in a way that few works really are--it kicks away the divide between playfulness and seriousness."--Henry Hitchings, Financial Times (UK)

"The opening of 2666 had me in its thrall from those first few pages . . . For all the precision and poetry of its language, for all the complexity of its structure, for all the range of styles and genres it acknowledges and encompasses, for all its wicked humor, its inventiveness, and sophistication, 2666 seems like the work of a literary genius."--Francine Prose, Harper's Magazine
 
"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
 

"Bolano's savoir-faire is incredible ... The exploded narrative reveals a virtuosity that we rarely encounter, and one cannot help being bowled over by certain bravura passages--to single one out, the series of reports describing murdered young women, which is both magnificent and unbearable. We won't even mention the 'resolution' of this infernal 2666, a world of a novel in which the power of words triumphs over savagery."--Baptiste Liger, L'EXPRESS

"Splendid . . . The jaw-dropping synthesis of a brief but incredibly fertile career."--Fabrice Gabriel, LES INROCKUPTIBLES

"The event of the spring: with 2666 Roberto Bolano has given us his most dense, complex, and powerful novel, a meditation on literature and evil that begins with a sordid newspaper item in contemporary Mexico."--Morgan Boedec, CHRONIC ART

"Including the imaginary and the mythic alongside the real in his historiography, without ever dabbling in the magical realism dear to many of his Latin-American peers, Bolano strews his chronicle with dreams and visions. As in the films of David Lynch (with whom Bolano's novel shares a certain kinship) these become a catalyst for reflection . . . In such darkness, one must keep one's eyes wide open. Bolano invites us to do just that."--Sabine Audrerie, LA CROIX

"An immense moment for literature . . . With prodigious skill and his inimitable art of digression, Bolano leads us to the gates of his own hell. May he burn in peace."--TECHNIKART

"Bolano constructs a chaos that has an order all its own . . . The state of the world today transmuted into literature." --Isabelle Ruf, LE TEMPS

"To confront the reader with the horror of the contemporary world was Bolano's guiding ambition. He succeeded, to say the least. Upset, shocked, sometimes even sickened, at times one is tempted to shut the book because it's unbearable to read. Don't shut it. Far from being a blood-and-guts thriller meant to entertain, 2666 is a 'visceral realist' portrait of the human condition in the twenty-first century."--Anna Topaloff, MARIANNE

"On every page the reader marvels, hypnotized, at the capacity of this baroque writer to encompass all literary genres in a single fascinating, enigmatic story. No doubt many readers will find 2666 inexhaustible to interpretation. It is a fully realized work by a pure genius at the height of his powers."  --LIRE

"His masterpiece . . . Bolano borrows from vaudeville and the campus novel, from noir and pulp, from science fiction, from the Bildungsroman, from war novels; the tone of his writing oscillates between humor and total darkness, between the simplicity of a fairytale and the false neutrality of a police report."--Minh Tran Huy, LE MAGAZINE LITTERAIRE (Paris)

"The book explores evil with irony, without any theory or resolution, relying on storytelling alone as its saving grace... Each story is an adventure: a fresco at once horrifying, delicate, grotesque, redundant, and absurd, revealed by the flashlight of a child who stands at the threshold of a cave he will never leave."--Philippe Lancon, LIBERATION

"If THE SAVAGE DETECTIVES recounted the end of a century of avant-gardes and ideological battles, 2666, more radically, evokes the end of humanity as we know it. Apocalyptic in this sense, wavering between decomposition and totality, endlessly in love with people and books, Bolano's last novel ranges over the world and history like the knight Percival, who in Bolano's words 'wears his fool's motley underneath his armor.'"--Fabienne Dumontet, LE MONDE DES LIVRES (Paris)

"A work of genius: a work of immense lucidity and narrative cunning, written with a unique mixture of creative power and intimate existential desperation, the work of a master whose voice has all the authority and seeming effortlessness that we associate with the great classics of the ages ... It is impossible to read this book without feeling the earth shift beneath one's feet. It is impossible to venture deep into writing so unforgiving without feeling inwardly moved--by a shudder of fear, maybe even horror, but also by its need to pay attention, by its desire for clarity, by its hunger for the real."--Andres Ibanaz, BLANCO Y NEGRO

"Without a doubt the greatest of Bolano's productions . . . The five parts of this masterwork can be read separately, as five isolated novels; none loses any of its brilliance, but what's lost is the grandeur that they achieve in combination, the grandeur of a project truly rare in fiction nowadays, one that can be enjoyed only in its totality."--Ana Maria Moix, EL PAIS

"Make no mistake, 2666 is a work of huge importance . . . a complex literary experience, in which the author seeks to set down his nightmares while he feels time running out. Bolano inspires passion, even when his material, his era, and his volume seem overwhelming. This could only be published in a single volume, and it can only be read as one."--EL MUNDO

"An absolute masterpiece ... Bolano writes almost without adjectives, but in his prose this leads to double meanings. The narration is pure metonymy: it omits feelings in favor of facts. A phone call or a sex act can express real tragedy, the sweep of the vast human condition."--Andres Lomena, LA OPINION DE MALAGA


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23 of 26 people found the following review helpful:
4.0 out of 5 stars A Set of Diamonds in the Rough, Jan 9 2009
This review is from: 2666 Tpb (Paperback)

I have a hard time imagining that any new novel I read this year will fill me as completely as 2666 did. I encourage you to read the book with interest, but without the expectation of perfection.

In 2666, the monumental novel that has brought so much joy to readers since the 18th and 19th centuries returns in the twenty-first century. Roberto Bolano displays enough breadth of vision to give Dickens something to think about. It's hard to describe this book without giving away details that might spoil your pleasure, but it's clear that everything and everybody are connected. That's also part of the attraction . . . because you want to know what all the connections are.

Bolano's 2666 provides a perspective that we don't get often enough in monumental novels, that of a novelist. In Part 1 "The Part about the Critics" we meet four academics who build careers (and indeed personal lives) around a little-appreciated German novelist, Benno von Archimboldi whom they have never met. The author's name alone will give you a clue that not all is as it seems. This story is by turns wicked satire, patronizing descriptions, tendentious morality tale, and hilariously warped view of the academic part of the literary establishment and its goings on. Only the obvious escapes them in their desire for privacy, comfort, career, and avoidance of loss. Before this part ends though, you'll feel like a strong magnet is pulling you and the characters towards an important appointment, one that will initially resist your understanding.

In Part 2 "The Part about Amalfitano" you will get to know Amalfitano who lives with his daughter Rosa in Santa Teresa, Mexico, a border town south of Tucson where sweat shop factories draw willing young workers from all over Mexico. You might think of Amalfitano as eccentric (after all, he has a book pinned to his clothes line based on something that Duchamp had once recommended), but it eventually turns out that he is a man in close contact with himself and reality. He is an educated man (a professor) from Europe who finds himself in a dusty town where the values are the opposite of any culture that he values. Like many of the characters, he has interesting dreams that help tell the story and enjoys the world of ideas. Some will see him as a stand-in for Don Quixote.

In Part 3 "The Part about Fate" you meet Oscar Fate (born Quincy Williams), an African American who is pulled away from his normal reporting to cover a boxing match in Santa Teresa. Fate doesn't have a clue about boxing and knows perhaps less about Mexico. Once there, he meets Guadalupe Roncal, a reporter from Mexico City, who wants to write about the many women who are being sexually attacked and killed in the Santa Teresa area. After the fight, Fate meets Rosa Amalfitano and eventually her father. Fate becomes our eyes into a culture that is terribly dangerous for women. Before the part's end you meet a mysterious blond giant.

In Part 4 "The Part about the Crimes" you will read in nauseating detail about what has been happening to women in and around Santa Teresa. Bolano buries you through repetition into being numb about the horrors, the callousness of those who prey on the women, and the attitudes of the police and other officials in the context of a very male chauvinist culture. By the end of this part, you'll piece together what's going on . . . which is more than the investigators do. I advise you to read this segment when you are in a good mood and in small doses.

In Part 5 "The Part about Archimboldi, you get to look behind the author's legend to meet the man and his family. It's the best part of the book and reminded me a lot of reading what Gunter Grass had to say in Peeling the Onion about emerging as a writer. Bolano adds power by dropping in little stories and events that complete and magnify other parts of the book. I savored this part right up to the final shoe dropping.

Bolano has an amazing ability to pile story on top of story on top of story so that you are seeing the subject (or the world) through an endless series of mirrors that display all dimensions simultaneously. His imagination to do this is immense. Due to his untimely death as he raced to finish this work, I don't think that these complex structures always received the polish they deserved. For instance, there are a few facts of 2666 that are never finished. Clearly, a good editor would have helped Bolano to flesh out such chinks in the reflective surface.

The translation often seems rough. You can tell because other parts are extremely smooth and well developed. It's not clear how much of this is due to the original not being fully polished or the translation being rushed.

To me, a monumental novel has to convey a sense of what the world is really about. You see that in a work like Crime and Punishment. Bolano also shares his worldview through the actions his characters take and their fates. The philosophy is clearly summarized by John Donne in that we are all connected and the loss of any one is a loss to all. Much of the story's development can be seen in the context of Catholic theology with many of the references unavoidable (such as the crucified general). Bolano's view is also that every thing we think or do affects everyone else. Ultimately, he sees us as all tied together because we are attracted to one another (even if the attraction is sometimes a perverse one). Behind all of these connections is a strong force drawing us to right wrongs, even when there seems to be no chance to succeed.

Although you can feel that the book spends too much time on the tawdry, its ultimate message is a very positive and life-affirming one . . . you can make a positive difference, if only you make the effort.
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3 of 3 people found the following review helpful:
4.0 out of 5 stars Bolaño's bible, Feb 28 2009
By ES (Ottawa, ON) - See all my reviews
This review is from: 2666 (Hardcover)
It might be best to go into this book with the expectations you'd have for a painting by Hieronymus Bosch. 2666 isn't so much a single narrative or a collection of stories as a big, five-paneled painting full of curious, often horrifying, always entertaining figures united by a meaning that you feel is there, but isn't necessarily available to you. (Or you could say it's like the Bible, a collection of books all connected by a theme that is not necessarily explicitly stated in each.)

Those figures, and the odd little stories Bolaño introduces along the way - an artist who cuts off his hand and makes it part of an installation, a manufacturer of coffee mugs turned London bum, a WWII Romanian general crucified by his soldiers, a Russian science fiction novel involving time travel, a Mexican detective and a hypnotist, among many other things - arrest you like a strange word in a flipped-through dictionary.

A lot of the arresting details have to do with arcane, and sometimes crackpot, knowledge from books. These arcane details mutate into other forms and start finding their way into the action - the works of a mystic Mexican nun (which include a cookbook) reappear as the city Santa Teresa, Mexico (where the maquiladoras are being murdered). You read on, fascinated by the workings of Bolaño's intuitions, wondering where he's taking you next and how he's going to tie it all together.

A pattern just may emerge, of women as regarded by men: in casual conversations, in the romantic entanglements of a group of academics, in the endemic violence against women portrayed in Part 4, 'The Part About the Crimes'.

The murders are recounted as they would appear in a police report - sober, never exploited for their sensational value - then expanded to take in the actions and reactions of investigators, legislators, health professionals, and even convicts. The chronicle of crimes emphasizes (a) the expendability of the poorest members of the working class, especially the women, (b) the tepid police response - influenced by a cultural devaluation of women - and (c) the slowness of the public reaction. As Bolaño suggests, it's like a dripping tap that no one can be bothered to fix.

The Part About the Crimes is also a technical achievement. It's as if Bolaño set out to outdo Sade (who is namechecked) by replicating his method in 120 Days of Sodom - brutalities repeated so often that they become rituals of depersonalization - but in such a way as to return the victims their status as human beings, and with intertwined sub-narratives that supply a dynamic that the Marquis could never be bothered to include. In other words, the Part About the Crimes is never just a catalogue of horrors, and it's never boring. (The real horror, by the way, is reserved for a depiction of life in a Mexican men's prison.)

As Ignacio Ecchevaría explains in a postscript, at the very end of his life Bolaño decided 2666 should be published as five independent books. The heirs decided otherwise, on the grounds that, although the structure of 2666 is 'open' - which is as much as to say there is no single narrative - the five parts share many motifs and serve a common end. They're right about the shared motifs; I'm still not entirely sure about the common end. Ecchevarîa himself is vague on what that end is.

2666 was not quite finished at Bolaño's death. If the author had lived longer he might have improved the pacing of the fifth part, on the writer Archimboldi: Bolaño's gift for varying the tempo is notably lacking here. It might have been more tightly connected with the other four parts, too, and might not have ended on a dying fall.

Imperfect as it is, I find myself thinking about 2666 weeks after I've finished it, and thinking about it more and more in terms of music and painting. In this connection the book it resembles more than any other is Ulysses, which also breaks down artistic boundaries: though 2666 is less tightly schematized than Ulysses, is never experimental at the level of language, not quite as much of an exercise in pastiche, and doesn't have Joyce's consciously reader-unfriendly passages.

It may not be Bolaño's best book. But I suspect that 2666, like Ulysses, "will keep the professors busy for centuries".
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5.0 out of 5 stars Indifference to Evil, Sep 4 2009
By Ian Gordon Malcomson (Smithers, Canada) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)   
This review is from: 2666 (Hardcover)
Bolano, in this major literary work, offers us some incredible insights into the many social, political and metaphysical faces of evil. By the time he is finished with us, we will begin to see the inglorious past, present and future of man's inability to control his violent urges. Structurally, the novel breaks down into a number of smaller chapters that look at how various characters attempt to understand and come to grips with the ugliness of human nature around them. While Bolano seemingly makes it easy for the reader to focus on the eye of the storm - a little flyblown Mexican bordertown near Nogales - where despicable things are happening in spades, he complicates life by introducing a number of different tangents on how violence apparently affects people differently. It is this rich melange of personal views and reactions that makes any attempt to metaphysically appreciate and possibly control our homicidal urges next to impossible. We are who we are because we essentially live to ourselves rather than on behalf of others. The first part of the story covers the actions of some European intellectuals who go in search of a reclusive German author and philosopher who has made it is his life's ambition to understand the human drive to kill. This mission fails because the members of the group get entangled in each other's personal needs to the point of losing track of their original goal: seeking knowledge. Other outsiders, such as a naive journalist in search of the big fight, actually make it to the Ground Zero of this Hell in the little Mexican town of Santa Teresa only to discover that there is something beyond their wildest imaginations: a langorus indifference to violence in its many awful manifestations. If the readers get used to the idea that life is cheap in the Mexican borderlands, Bolano hits then with an extremely sordid and foul section of the novel that deals with the unrelenting actions of a rapist-serial killer on the loose. In this crazy, screwed-up world, those who are afraid flee while those who stay learn to adjust and accept. In the last section of the book, Bolano allows his reader to finally catch up with the eccentric philosopher in Mexico to learn what he knows about the history of violence and mayhem in his own life. His tale is one of those compelling experiences where even those who are opposed to hurting others - the pacifists and the innocents - are not exempt from the terrible toll of its fury. Perhaps, it a was good thing that Bolano finished writing "2666" when - shortly before his death - he did because the force with which he describes the fury of evil is a voice of all-consuming, apocalyptic anger, leaving very little hope that anyone could possibly withstand its onslaught that far into the future. Yes, contrary to what others might say, this novel has a number of common threads that hold it together, and it does challenge us to come to grips with the spread of violence in a modern society given to worshipping individual freedom and greed.
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5.0 out of 5 stars A "Tour" de Force
2666From the maquiladoras of Mexico and the ongoing mass murder of women in "Santa Teresa" (Cuidad Juarez), to the castle of Count Dracula, to the purges of the Soviet Union, to... Read more
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