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This article discusses the importance of the mother figure in Roberto Bolaño’s novel Amuleto (1999). Previous scholarship on the novel has focused on its formal structure and discursive strategies to narrate the traumatic events surrounding the violent repression of the Mexico 1968 student movements alongside the curtailment of other Latin American struggles for social change, while establishing the crucial importance of memory in countering the dominant official discourse. My approach expands on this work to focus on the main character, Auxilio Lacouture, in her role as “the mother of Mexican poetry”, as she exposes the systematic exclusion of the maternal figure from Latin American political thought. I argue that the novel, by recuperating and giving voice to the artistic maternal figure, calls for future forms of political responsibility that shed patriarchal sacrificial revolutionary models in favour of approaches founded on affectivity and an ethics of care. [ABSTRACT FROM AUTHOR]

As Marcuse noted, not all novels in which an artist is the protagonist are “artists” novels’, as the subgenre requires different characteristics for its categorisation, such as the rupture between life and art, uprootedness or a torn love. In this proposal, we explore the concept of the artist novel in Bolaño’s narrative, adding to the aforementioned features (and others that constitute it) a crucial characteristic in the Chilean-born writer’s narrative: crime as an aesthetic and moral desire, in which marginality acts as a constant imaginary Louvre that challenges the writer/creator and the perpetrator. For this task, we will call as witnesses four characters from Bolañesca’s narrative who are strongly suspected of having committed crimes that would aesthetically and self-reflexively enrich his work. [ABSTRACT FROM AUTHOR]

In Estrella distante (1996), one of Roberto Bolaño's short novels, we already find the entire machinery of referentiality and intertextuality, that is one of the factors of the “worldliness” of the author and his work. At the same time, the year of publication coincides with that of Édouard Glissant’s essay on one of the influential figures of the Latin American boom: William Faulkner, who also appears in the paratexts of Bolaño’s novel. Based on the novel's multiple references and intertexts, the article proposes a reading of Estrella Distante in (certain) Glissant's terms, including that of “tout-monde”, as an alternative conceptualization of the paradigm of “world literature”, conceived from the margins rather than the center (with, for example, Paris as a geographically and culturally located core) and with a temporality that is not entirely constructed as another, but at least questioned. [ABSTRACT FROM AUTHOR]

This article proposes to interpret humor as one of the fundamental resources in Roberto Bolaño's narrative and questions its function in the Chilean author's literary project. The last twenty years have been characterised by attempts in criticism to offer global approaches to Bolaño's work. In this context, it would be interesting to understand humor, one of the important but less commented facets, as a key factor that comprises both the center of the Chilean's narrative strategy and an anti-hermeneutic attitude that underlies his writing. To this end, the existing approaches to irony (and more generally to humor in Bolaño) are traced and a new analytical framework is proposed that understands humor as a discursive game (a narrative strategy that evokes an affective response, laughter, and suggests a way of reading that in turn reveals Bolaño's idea of literature). Such a contextualization allows us to analyze discursive humor in its different aspects, namely: the play with the reader's expectations, the carnivalisation of the text, incongruent parallels and contradictions. After analysing the formal aspects of the examples from the novel The Savage Detectives, we conclude with an anti-hermeneutic interpretation of the function of discursive humor. [ABSTRACT FROM AUTHOR]

The event day titled “Reading under the shower”, organized on October 19, 2023 in Krakow by the Hispanists of the Jagiellonian University and the Cervantes Institute of Krakow, was part of a series of tributes to Roberto Bolaño that they paid to him, in their triple anniversary, readers, academic and non-academic, from various parts of the world. This article, in addition to serving as an introduction to a dossier of studies on Bolaño's work (the result of the interventions of those attending said day), also traces some local critical trends visible in Polish reviews and academic works. [ABSTRACT FROM AUTHOR]

In this article, I aim to survey the work of Roberto Bolaño in order to explain an aspect often overlooked in his writing: the existence of a dyschrony, a temporal friction between the characters' neoliberal present and their militant revolutionary past. This struggle exposes a discomfort in the face of a temporality that has rendered the characters obsolete, seeking to forget them and leave their past behind. However, this same discomfort underlines the tensions and contradictions between different historical moments. In a social and political context of amnesia, which aims to establish a monochronic narrative, Bolaño rebels against this forced historical homogeneity by reopening and questioning it. [ABSTRACT FROM AUTHOR]

In this article I propose an interpellation to psychoanalysis based on two elements of the novel 2666: the endless repetition of forensic obituaries of "The part of the crimes" and the nightmares suffered by the critics and Amalfitano. These elements challenge psychoanalysis at two different levels: first marking the limits of metapsychology when addressing phenomena such as the femicides of Juárez (Santa Teresa); and later at the level of the dream paradigm of sleep as a fulfillment of wish, indicating the transition to a model of nightmare, correlative to a subjectivity that is torn between suicidal nihilism, melancholy and the multiple splits required to sustain itself on a world in destruction. [ABSTRACT FROM AUTHOR]

This text will address the figure of women in two fundamental novels by Roberto Bolaño: Los detectives salvajes (The savage detectives) (1998) and 2666 (2004). In the first, the aim is to corroborate the existence of a sacred elaboration of women. In this regard, it is worth considering the figure of Cesárea Tinajero not only as the myth of the avant-garde artist, but as the avant-garde itself. In regard to 2666, specifically in "La parte de los crímenes", the aim is to account for a revealing twist in Bolaño's perspective regarding women, who stop being a literary symbol to become a political subject; highlighting in such a way, a central issue for feminism, gender violence. [ABSTRACT FROM AUTHOR]

This article studies the poet as a key figure in Roberto Bolaño's narrative. Throughout his fiction, the poet will be constantly displaced from their time and turned into a subject akin to Nietzsche's untimely and Agamben's contemporary. Cast aside from history, he will be able to recognize and understand the presence of an absolute evil, recurring ad eternum throughout history. If the newly reinstated democracies in Latin America blindly embraced neoliberalism, putting an end to any utopic discourses, and thus rendering those who once chose the path of militancy obsolete, Bolaño will at least redeem the poet, by placing him above all and any historical contingencies. He will not be able to modify the course of history, but he will serve as a witness, if not a moral compass. [ABSTRACT FROM AUTHOR]

The article presents some diverse forms and modalities of visuality expressed by Roberto Bolaño's poetry. Starting by the idea of avisuality (Mizuta), a specific sample of writings related to paintings by J. Van Eyck, El Greco and Francis Bacon is analyzed and commented. The suggested reading states that visual exploration by Bolaño's poetry alters the paradigm of ocular-centrism, by deautomatizing the cultural conventions tending to fix and shape our own views. By doing so, his poetical proposition is projected with critic potential in the context of contemporary visual culture. [ABSTRACT FROM AUTHOR]

This article traces Roberto Bolaño's fictionalized imprint in Diego Trelles Paz's El círculo de los escritores asesinos and Alejandro Zambra's Poeta chileno. These novels thematize Los detectives salvajes' repercussions and effects on the Latin American literary scene, translating Bolaño's imaginary around a poetic ethos into narrative dilemmas and strategies. El círculo de los escritores asesinos and Poeta chileno not only reflect on how to write but on how to be writers after Bolaño, once Ulises Lima and Roberto Belano established the Latin American poet's pervasive and idealistic role model. Just as Bolaño's real visceralistas are more concerned with living a poetic life than writing an oeuvre, Trelles Paz and Zambra portray communities of poets where affects and books permeate and reinforce each other. Ultimately, they draw opposing ethical outcomes from Los detectives salvajes' iconic interweaving of literature, friendship, love and death. [ABSTRACT FROM AUTHOR]

The global novel is one of the central stakes in the US-centered international literary field, a field that openly celebrates marginality, authenticity, and ethical bearing while still rewarding works targeted to an Anglophone, educated audience with an omnivorous aesthetic disposition. This essay reconstructs the genesis and the history of the contemporary literary field, tracing the geopolitical, social, and institutional changes that resulted in the current system of beliefs. The second part focuses on two celebrated global novelists, Elena Ferrante and Roberto Bolaño, studying the affinities in their work that reflect their similar position vis-à-vis the United States: they both disallow the centrality of the US and the legitimacy of academic institutions, make use of genre fiction, and craft their narratives around the figure of an authentic, marginal friend. These strategies prove to be particularly effective in responding to the contradictory constraints of the literary field. [ABSTRACT FROM AUTHOR]

This work analyses the stylistic and semantic correspondence between the speech of Auxilio Lacouture in the fourth chapter of part two of the novel Los detectives salvajes by the Chilean writer Roberto Bolaño and some passages from the Mexican Fernando del Paso's Noticias del Imperio in the speech of Carlota of México. The starting point for this essay is a broad concept of the notion of intertextuality, according to some relevant experts on the subject, without neglecting other resources of postmodern literature, which show the correlations between the analysed texts.

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Résumé : Le but de ce travail est de mettre à profit le rapport – à la fois déclaré et manifeste – de Roberto Bolaño à ce qu’il est convenu d’appeler la « pop culture », pour proposer un agencement ou une articulation de plusieurs questionnements traditionnellement associés à son œuvre : la thématique du Lumpen, l’imbrication vitale de l’art et de son extériorité, et enfin la problématique du Mal que nos travaux antérieurs sur l’auteur n’ont jamais dissociée de celle du « devenir technique » heideggérien. Notre thèse centrale, à laquelle l’analyse du motif de la science-fiction dans son œuvre nous conduit, est ainsi celle d’un dépassement par l’auteur de la réflexivité postmoderne : un dépassement dans lequel, à notre sens, réside une bonne part de son pouvoir de fascination. Abstract: The aim of this work is to emphasize Roberto Bolaño’s relationship – at the same time declared and manifest – with what is known as «pop culture», to propose an arrangement or articulation of several questions traditionally associated with his work: the theme of Lumpen, the vital interweaving of art and its exteriority, and finally the problematic of Evil that our previous works on the author have never dissociated from that of Heidegger’s «technical evolution». Our central thesis, to which leads us the analysis of the motive of science-fiction in his work, is the overrun by the author of postmodern reflexivity: it is on this overrun that hinges on, in our view, a good part of his power of fascination. Resumen: El propósito de este trabajo es aprovechar el vínculo –a la vez reivindicado y manifiesto– de Roberto Bolaño con lo que acostumbramos llamar la «cultura pop» para proponer una articulación de varias problemáticas tradicionalmente asociadas a su obra: la temática de lo Lumpen, el entrelazado vital del arte con su exterioridad, así como la cuestión del Mal, que nuestros trabajos anteriores sobre el autor nunca disociaron de los aportes del pensamiento heideggeriano sobre la técnica. Nuestra tesis central, a la que nos lleva el análisis del motivo de la ciencia ficción en su trabajo, es la de un repudio por parte del autor de la reflexividad posmoderna: un repudio en el que radica, a nuestro parecer, buena parte de su poder de fascinación.

Résumé : Cet article s’attache à mettre en évidence les liens de nature qui unissent la ville et le désert, deux espaces géographiques et symboliques apparemment antithétiques au plus haut point, dans l’œuvre romanesque de Roberto Bolaño. Dans un contexte géopolitique et migratoire mondialisé, la ville frontalière de Santa Teresa – double littéraire de Ciudad Juárez – cristallise les passages du sud du continent américain vers les États-Unis : ce sas migratoire constitue, en l’occurrence, le décor semble-t-il consubstantiel de milliers de féminicides. Si la ville se présente traditionnellement comme l’incarnation géographique et comme la réalisation spatiale d’une forme d’achèvement politique et civilisationnel, l’œuvre de Bolaño confronte son lecteur à la débâcle des prétentions civiles de la cité. Pour tenter d’expliquer le paradoxe d’une urbanité barbare, cet article se propose d’élucider la manière dont Santa Teresa apparaît poétiquement construite comme l’incubateur topologique du mal absolu dans les romans de l’écrivain chilien. Resumen: En este artículo se busca evidenciar los vínculos intrínsecos que unen ciudad y desierto en la obra de Roberto Bolaño, a pesar del carácter por lo visto altamente antitético de ambas entidades geográficas y simbólicas. En un contexto geopolítico y migratorio globalizado, la ciudad fronteriza de Santa Teresa –trasunto literario de Ciudad Juárez– cristaliza los flujos que llegan desde el sur del continente americano hacia los Estados Unidos: esta esclusa migratoria constituye, más concretamente, el escenario aparentemente consubstancial de miles de feminicidios. Si la ciudad se presenta tradicionalmente como la encarnación geográfica y como la realización espacial de cierta forma de logro político y civilizacional, la obra de Bolaño sin embargo enfrenta su lector a la desbandada de las pretensiones civiles de la ciudad. Para intentar explicar dicha paradoja de una bárbara urbanidad, este artículo se propone desentrañar la manera en que Santa Teresa se ve poéticamente elaborada como incubador topológico del mal absoluto. Abstract: This paper wishes to bring out the intrinsic links that seem to relate the city and the desert in Roberto Bolaño’s novels, despite the apparent antithesis of these two geographic and symbolic entities. In globalized geopolitical and migratory contexts, the border city of Santa Teresa—a fictional lookalike of Ciudad Juárez—gathers the traffic flows which connect the south of the American continent to the United States: this migratory airlock constitutes the apparently consubstantial scenery of thousands of feminicides. While, on the one hand, the city usually appears as the geographical embodiment and as the spatial realization of a certain form of political and civilizational achievement, on the other hand, Bolaño’s opus nonetheless leaves its readers facing the defeat of the city’s civilizational ambitions. This article attempts to clarify how Santa Teresa is here literarily built as a topological incubator of absolute evil, and aims at showing how this case exemplifies the paradox of a barbaric urbanity.

I analyze the frontier and how the crossing of it affects the characters in 2666 and The Salvages Detectives of Roberto Bolaño. The rise of feminicides in the cities of the border between Mexico and USA happened at the same time of the implementation of the NAFTA that attracted a lot of assembly plants. The coexistence of the violence represented by the military and political forces of the Mexican state and the drug dealers are examples of a fundamental failure of Mexico as a democratic state. Another phenomenon that affects the borders is the big migration of people to the development countries. The Salvages Detectives and 2666 are Bolaño’s novels that work as tools that amplify –from a literary, sociological and political perspective- the complex reality of the border, where nomads that have lost their moral center are centrifuged by a dehumanizing modernity.

This paper is an exploration about the transformations, the dissolution and the reconfigurations of the concept of territory in the Roberto Bolaño’s work. The place of childhood, the intertextual relations and the contacts with other idiomatics worlds are the subjects exposed here. This mentioned subjects emphasize in the literary rupture of boundaries as a way to reconstruct a face and an identity but also can be read as a form of exile.

As his most dedicated readers perfectly know, Roberto Bolaño’s fictional world – one that is systematically and obsessively crossed by voyagers and itinerant fluxes – casts the spell of a bounderless geography, in which the topic of the travel, the constant wandering of people, words, books and disparate cultural models seem to point toward the idea of an utopic universal transitivity. But beneath the transparent surface of that bohemian, on the road cosmopolitanism – which, in fact, works more as the shadow of a deciduous illusion – Bolaño discloses his unwavering reading of the conspiracy inherent to globalization, ritualizing the backs and forths of such itineraries, the crossings of the borders and its consequences, ultimately tematizing the impossibility of translation.

The following essay analyzes a dialogue between Latin American writers Roberto Bolaño and Ricardo Piglia that took place in 2001 by email. Both writers have built a strong author figure that, in many ways, transcends the fictional space. Although they also share views about the issues that the contemporary Latin American literature faces, this essay attempts to show some key differences that are often overlooked. Finally, we read other short texts (essays like “Sevilla me mata” or “Derivas de la pesada” and interviews given by Piglia) that place this dialogue in a broader context.

Nuestra lectura de la novela de Bolaño releva la figura del dealer-poeta-detective literario y su capacidad revulsiva de burlar a un tiempo el imperativo laboral productivista y la consagración del arte. Desplazamos el foco de cierta romantización de los estímulos psicoactivos en relación con la creación artística para atender a las posibilidades de una economía de liberación que restituya al sujeto la dimensión estética de su existencia.

Desde 1909, cuando el aviador francés Blériot logró cruzar el Canal de la Mancha, el avión no ha dejado de fascinar a los escritores. Dos aspectos del vehí­culo recién inventado despertaron un interés particular en la historia literaria de la aviación. Si para varios poetas y novelistas modernos el avión es “más que un medio de locomoción”, como observa el poeta piloto Saint-Exupéry, lo es a la vez por razones éticas y estéticas. Por un lado, se celebra el aero ­plano como un medio de acción que posibilita transgredir los lí­mites del mundo y de sí­ mismo; por otro, se presenta como un medio de percepción que permite ver la tierra y el cielo de una manera distinta. El presente artí­culo trata de aclarar estos dos ví­nculos entre la aeronáutica y la literatura mediante algunos textos publicados antes y después de los bombardeos de la segunda guerra mundial, en particular La vuelta a Europa en avión (1929) de Manuel Chaves Nogales, Terre des hommes (1939) de Antoine de Saint-Exupéry, Estrella distante (1996) de Roberto Bolaño y Le Jardin des Plantes (1998) de Claude Simon.

Este artículo se concentra en la actitud crítica que Roberto Bolaño tuvo hacia la figura del maestro. Dos personajes destacan en la mira de la ironía bolañesca en la novela Los detectives salvajes: Miguel Donoso Pareja y Octavio Paz. El primero aparece bajo los nombres de Gustavo Pardo y el segundo con su nombre real. Esta actitud iconoclasta se refleja en la subversión como parte de la ética del realismo visceral y recuerda de cierta manera el espíritu de los tzántzicos.

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As with any cultural history, the matter of creating one about Chile’s dictatorship is fraught with a number of political problems; the matter of creating aqueercultural history of the dictatorship is a somewhat related task, and as such it is all the more difficult. Cultural histories are often linked to literary canons, of course, defined as much by whom they exclude as by whom they include. In her 2011 bookThe Queer Art of Failure, Judith Halberstam connects the writing of queer historiography, and its ensuing canonical implications, with capitalist rhetoric of success and failure: critiquing the way “we are so endlessly seduced by the idea that sexual expression is in and of itself a revolutionary act” (150), she cautions against the cliché of describing “early narratives of gay and lesbian life as ‘hidden from history,’” based on ideas that render “gay and lesbian history as a repressed archive and the historian as an intrepid archaeologist digging through homophobic erasure to find the truth” (148). Those recovered are the “winners,” written into history and posterity; but Halberstam is also interested in the “failures” in queer history, that is, those whose narratives are not necessarily politically convenient or “palatable.” My aim here is to intervene in the queer cultural history, and the canon, of Chile’s dictatorship; however, I am going to be wary not only of writing a clichéd paper that, as Halberstam says, “locates the plucky queer as a heroic freedom fighter in a world of puritans” (150), to invert the “winners” and “losers” in historical and political narratives.

Recensione del libro Il romanzo global. Uno studio narratologico di Filippo Pennacchio.

Reseña

This article explores the ways in which crime fiction and central tenets of the avant-garde are combined in Roberto Bolaño’s Estrella distante (1996) as means to re-evaluate the legacy of Augusto Pinochet’s dictatorship in Chile. This reading proposes that the novel’s re-working of the genre and the use of aesthetic motives related to ideas of newness and participation act as a platform to reformulate notions of responsibility and justice and, fundamentally, patterns of continuity between the dictatorship and the post-dictatorship period.

This essay is divided into three parts. The aim of the first part is to understand how Roberto Bolaño represents the violence upon women in his posthumous novel 2666. In the second part we open a debate with the work La modernidad insufrible by Oswaldo Zavala, which is one of the most important books recently published about Bolaño. However, we reach different conclusions. Finally, we examine how Bolaño assumes the singularity of the violence taking place in Sonora, which is a copy of Ciudad Juárez.

Taking Jacques Derrida’s “The Principle of Reason: The University in the Eyes of Its Pupils” as a theoretical starting point, this paper aims to debate the notion of university based on Virginia Woolf’s Three Guineas and Roberto Bolaño’s Amulet, in order to investigate possibilities for creatively inheriting an idea. [ABSTRACT FROM AUTHOR]

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My article advances the notion of trauma as a synecdochic event in Amulet (1999) by Roberto Bolaño. I will showcase how Amulet functions as a false memory or testimony by focusing on aspects of ekphrasis, surrealism, and trauma within the novel. The main character, Auxilio Lacouture, suffers from fractures of memory, which renders her enunciation both ambiguous and ambivalent. This ambivalence demonstrates both a lack and an overabundance of poetry. Bolaño intends to recapture the events that precede and follow the Tlatelolco student massacre in Mexico. In doing so, he exhibits the traumatic potentiality of State-sanctioned violence as a source for poetry. By recreating and fictionalizing these unnamed events, Bolaño dismantles the symbolic production of order and modernity brought forth by the government's ideologues during the time leading to the Olympic games and the institutional silencing of the witnesses amid the massacre. Moreover, the narration of trauma becomes a paradoxical enterprise, because the fragmentation of the self becomes an unavoidable totality that erases coherent narrative and fills its vacuums with memories of suffering, endless repetition, and reiteration. [ABSTRACT FROM AUTHOR]

The image of Arlt’s dead body is wellknown: his coffin being removed through the window of a room in a poor building in Buenos Aires. Such a large body, such a large coffin, that the stairs cannot support its passage. The signature in this image is also well-known: Ricardo Piglia. And it is based on this image that, in his essay “Vagaries of the Literature of Doom”, Roberto Bolaño associates Arlt with Jesus Christ and Piglia with Saint Paul: “Arlt had his Saint Paul. Arlt’s Saint Paul, the founder of his church, is Ricardo Piglia”. The present text intends to explore the superposition of these figures, as in those photographic albums that existed before cinema, those “little books of photos that could be made to flit past the viewer under the pressure of the thumb, presenting a boxing match or a tennis match”, of which Benjamin spoke in his well-known essay “The Work of Art in the Age of Mechanical Reproduction”. This exploration will enable us to consider the reading effect that these “last readers” achieve in the production and dissemination of images of their favorite authors, a written collection that tells different versions of skillfully woven myths. [ABSTRACT FROM AUTHOR]

The article analyzes the construction of a literary identity in Roberto Bolaño's novel The Savage Detectives (1998). Starting with the hypothesis that his narrative elaborates a revalorization of the poetic, this work investigates the procedures and models of the mentioned construction. Designed from both autobiographical hints and literary types, the profile of Belano, Bolaño's alter ego, unites the author's life experiences with others that have been legendarized by literature or literary history. The article discusses not only the literary construction of Bolaño's characters, but the transformation of Bolano himself in a literary figure.

The presence of queer motifs in contemporary Latin American literature is getting more and more relevant nowadays, generating a rich and complex corpus of texts where the thematic obsession with the opaque, incongruous, mischievous body overtly exceeds the LGBT borders and becomes a strategy of experimenting new politics and poetics of representing Latin American collective identity. This essay aims at giving a new theoretically hybrid frame of reading to some of the most emblematic texts of the contemporary canon, one where the postcolonial discourse mixes with queer studies. A classic urban chronicle about transvestism by Pedro Lemebel and the novel Woes of the true Policeman by Roberto Bolaño will be considered as case studies: both the faux detective story of a Chilean exiled investigating on his own sexual ambiguity and the magic-realistic performance of a indio imitator of the pop singer Madonna seems to allude to a sort of subversive continuation of the postcolonial assessment of the New World, in which notions of “obliqueness”, “unaccountability” and, crucially, “vulnerability” sound ambiguously as a critical response and as an ingenious actualization of traditionally fostered cultural constructs such as “mestizaje” and hybridization.

La vida de Roberto Bolaño estuvo marcada, además de la gran pasión que tenía por la literatura, por la diversidad de oficios que desarrolló como inmigrante en Europa para subsistir. Ser un obrero, alguien que realiza un oficio puntual durante mucho tiempo, puede ayudarnos a entender por qué Bolaño pudo realizar una producción literaria tan abundante. En este artículo exploramos, a través de lo que plantea Richard Sennett sobre cómo un artesano logra perfeccionar su oficio, la manera en la que Bolaño concibió la escritura y perfeccionó su quehacer escritural.

Taking a lead from a remark made by Pirandello concerning the name of the character, 'Claudio Cantelmo', in D'Annunzio's Vergini delle rocce, already used by the same author in his Trionfo della morte, this paper focuses on a particular kind of onomastic migration, which consists in using the same name for two (or more) characters in different works by the same author. This phenomenon is found in writers as far apart in time and literary genre as Roberto Bolaño and Giovanni Boccaccio, and is usually seen in the light of a 'holistic' or 'suprasegmental' conception of the onomastic strategy of any given author. [ABSTRACT FROM AUTHOR]

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Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Poligramas is the property of Universidad del Valle and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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This article proposes a model of world literature based on multilingualism, rather than translation or a series of monolingualisms. It analyzes three novels, positioned in uneven relationships to world literature: Ramon Saizarbitoria's Hamaika pauso (Basque; Countless steps , 1995), Roberto Bolaño's 2666 (Spanish; 2004), and Sol Ceh Moo's Sujuy k'iin (Mayan; Unspoiled day , 2011). They can all be read as multilingual, and despite the differences of their contexts and the particular ways in which different languages intertwine in them, anticlimactic forms are an aesthetic solution they share. The model of world literature informed by this anticlimactic multilingualism could be called the Real of world literature, since it points to the traumatic core of world literature that disrupts the possibility of systematizing its literatures in a holistic structure. [ABSTRACT FROM AUTHOR]

En el presente trabajo se plantea que Una novelita lumpen de Roberto Bolaño y su transposición cinematográfica El futuro de Alicia Scherson actualizan elementos de "Cine de poesía" de Pier Paolo Pasolini. Si bien Bolaño y Scherson desmontan la oposición pasoliniana entre "lenguaje de poesía" y "lenguaje de prosa" por medio de la hibridación de géneros, coinciden con el cineasta italiano en cuanto a rechazar la estandarización de las formas de narrar. Este fenómeno se caracteriza por el predominio de relatos de carácter informativo, lineal y transparente tanto en el cine como en la literatura. Así, se plantea que las categorías "cine de poesía" y "cine de prosa" no describen una dicotomía estructural, sino política.

This article aims to address the disappearance and the specific closure of myth as metaphysical background in Los Detectives Salvajes by Roberto Bolaño; this closure is represented in the novel by the avant-garde poet Cesárea Tinajero, a character that emerges as a concrete life, lost in history, with more courage against systemic or ethical strength, than magical properties that connect with spiritual or religious statements.

A stylistic analysis of Corazón de Kaláshnikov (2009) by AlejandroPáez Varela highlights that the novel is extremely elliptic: the focalization of thecharacters is external, the causal relations are implicit and the style is very muchparatactic. This seems a response to an ethical choice far from the sensationalistrepresentations of the violence in Ciudad Juárez, an option Páez Varela shareswith the Bolaño of 2666, specifically the part about the femicides, that accountsfor the ‘Global South’ moment. Paez Varela’s novel seems related to a peculiargeographic and climatic environment typicall of the North of Mexico. It sharesits tense and sober style with Nellie Campobello, David Toscana and the mexicancorridos.