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The latest addition to our Reviews Section is a piece by Jeremy Garber on Roberto Bolaño’s The Secret of Evil, which is translated from the Spanish by Chris Andrews and Natasha Wimmer, and was recently released by New Directions.
Jeremy Garber is a used book buyer for a large independent bookstore. (And a GoodReads friend, which is where I first came across his reviews.) His work has appeared in The Oregonian, the Oregon Historical Quarterly and on Powells.com. And continuing our baseball theme, it’s worth noting that Jeremy is an avid Philadelphia Phillies fan.
Here’s the opening of his review:
As the pool of Roberto Bolaño’s as yet untranslated (or unpublished) work draws ever shallower, fans of the late Chilean novelist and poet are left hungering for whatever wayward morsels still remain. While those eager to devour something as bountiful as The Savage Detectives or 2666 are likely to be left unsated, Bolaño’s residual writings nonetheless offer a complementary (if not integral) glimpse into his towering and singular body of work. So it is with The Secret of Evil, a collection of 19 mostly unfinished pieces found amongst the files on Bolaño’s computer following his 2003 death.
Ignacio Echevarría, Spanish critic and Bolaño’s literary executor, penned a preliminary note to The Secret of Evil that outlines the provenance of the book’s contents. Despite the undated nature of these orphaned pieces, it appears that Bolaño was working on them in the months preceding his death. Echevarría offers insight into the often problematic charge of determining which of Bolaño’s stories or items had, in fact, already been completed:
“. . . the inconclusive nature of Bolaño’s novels and stories makes it difficult to decide which of the unpublished narrative texts should be regarded as finished and which are simply sketches. The task is further complicated by Bolaño’s progressive radicalization of what I have called his poetics of inconclusiveness. And to make the distinction more difficult still, Bolaño rarely began to write a story without giving it a title and immediately establishing a definite tone and atmosphere; his writing, which is always captivating, virtually never stumbles or hesitates.”
Despite the arduousness of Echevarría’s attempts to clarify a particular piece’s state of completion, the writing in The Secret of Evil never reads as if it were hastily constructed, but rather, at times, simply unfinished.
Click here to read the entire review.
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Three Percent is supported in part by the New York State Council on the Arts.
