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2666 by Roberto Bolaño

2666 (2004)

by Roberto Bolaño

Other authors: See the other authors section.

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4,7411441,427 (4.13)8 / 656
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English (128)  German (4)  French (3)  Dutch (3)  Portuguese (Portugal) (2)  Spanish (2)  Japanese (1)  Italian (1)  Norwegian (Bokmål) (1)  All languages (145)
Showing 1-5 of 128 (next | show all)
Some novels interest me because of the subject of the book, and it's being referred to as such an epitome of classic novels. I found this hard to read because of the lack of any emotion....any emotional involvement in any of the characters.......therefore I felt like I was reading and reading this novel, but getting nowhere. The dry and distant outlook never endeared me, as a reader.......I read part of the book, and may one day finish it. Maybe it will be more enjoyable then. Disappointing. ( )
  over.the.edge | Sep 16, 2018 |
A verdade é que não gosto de 2666 tanto quanto de Os Detetives Selvagens, mas nem por isso o primeiro deixa de ser uma obra excepcional, Bolaño é uma voz estridente na literatura contemporânea (apesar de já ter morrido precocemente) e a maneira dele escrever é soberba, há momentos de pura poesia no desenrolar dos pensamentos de suas personagens, como bem ele consegue amarrar as narrativas mais complexas de maneira que façam sentido como um tôdo.
Agora um apanhado geral de cada parte do livro:

A Parte dos Críticos: Aqui temos o estilo que me encantou em Os Detetives Selvagens, aficionados em busca de um autor, a prosa de Bolaño é precisa e envolvente.

A parte de Amalfitano: Um ligeiro decair em relação ao primeiro livro, Bolaño continua um prosador engenhoso, mas aqui falta algo do seu melhor.

A Parte de Fate: No início deu um WTF pela falta de relação do último livro para o ínicio deste, mas depois as coisas foram se convergindo e tudo se encaixou lindamente. O que mais impressiona aqui são as construções dos pensamentos das personagens e suas motivações, Bolaño as constrói de maneira inacreditável.

A Parte dos Crimes: WOW. Um retrato aterrador de como o patriarcado age na sociedade em relação às mulheres, são centenas de páginas descrevendo feminicidios entrecortados com a descrição da corrupção, tráfico e machismo presente nas mãos dos envolvidos (polícia, políticos) todos representantes do patriarcado com escassas representações feministas que tentam quebrar a sina da cultura de estupro presente na sociedade, esta inspirada na situação crítica em que se encontra Ciudad Juárez no México em relação à feminicidios. Uma pequena obra prima dentro do que tem tudo para ser uma obra prima completa.

A parte de Archimboldi: Um quinto livro muito digno, onde são fechadas lindamente todas as pontas soltas da narrativa.

Enfim, é um livro vastamente indicável por sua qualidade e sensacional para ser lido durante a Copa do Mundo de Futebol pela quantidade de nacionalidades que ele abarca com propriedade, o que torna sua leitura ainda mais entusiástica.
( )
  Adriana_Scarpin | Jun 12, 2018 |
Stunning! Full review to follow ( )
  Dithreabhach | May 8, 2018 |
This book has succeeded in convincing me that reading, the process of reading itself, is a living thing, a sad, wretched little creature.
It leaves the impression of a forgotten catastrophe, a repressed feeling of calamity, a dream of unbearable sorrow one vainly struggles to remember and ends up forgetting everything else. ( )
  alik-fuchs | Apr 27, 2018 |
This is a book in five parts

The Part about the Critics
Four European academics, all professors of German, one from France, one from Spain, one from Italy, and one from England, have a common bond. They all specialize in the writings of a reclusive German writer with an Italian name. Over the years of attending conferences together they gradually become acquaintances, then friends, and then lovers. But the object of their academic fascination, the author Benito von Archimboldi, remains elusive, until they hear a rumor that he may be living in Santa Teresa a Mexican city in the Sonoran Desert close to the border of the United States, and three of them go there in search of him. However, in Santa Teresa, Archimboldi is hardly the talk of the town. The talk of the town is the hundreds of murdered women whose bodies have been turning up in the desert, along the highway, and in illegal dumps. Most have been strangled and raped.

Bolaño, is as witty and snarky as Jane Austin. In “The Part about the Critics,” he presents characters that cover their bad behavior with intellectual pretension. Their opinion of themselves as intellectuals they think makes them superior to the common class of humanity, so that their sexual appetites and indulgences override and ignore the impact on others, whether it’s a Pakistani taxi driver, a professor of literature in a small Mexican university, their partners, and even each other, much like the eponymous protagonist of The Tale of Gengi. And behind a veneer of politeness they envy and compete with each other.

The part about Amalfitano
After the departure of the Europeans from Mexico, Professor Amalfitano, the melancholy professor Literature at the University of Santa Teresa, Chilean exile, father of a seventeen-year-old Spanish daughter Rosa, and translator of Archimboldi from German into Spanish, sit on the porch of his modest home in Santa Teresa and remembers his late wife Lola. Lola was an unstable personality who always traveled with a switchblade and abandoned her family two years after Rosa’s birth when they were all living in Spain. Now each morning as he drinks his coffee he gazes into the back yard where he’s hung a geometry text on the clothes line, in imitation of Dadaist Marcel Duchamp. Lately two things have been troubling him. His concern that Rosa could become one of the victims of the mass murderer, or murderers, and a voice claiming to be the voice of his dead father has been speaking aloud to him at night when he’s home alone. The voice from beyond the grave, or wherever it’s source, is cynical, homophobic, and depressing. “There is no friendship, said the voice, there is no love, there is no epic, there is no lyric poetry that isn’t the gurgle or chuckle of egoists, the murmur of cheats, the babble of traitors, the burble of social climbers, the warble of faggots.”

The part about Fate
A few days after his mother dies Oscar Fate, a writer for a Harlem magazine, gets an unusual assignment from the magazine’s sports editor, go to Mexico to cover a prize fight. It’s unusual, because Fate is not a sports writer, but the boxing writer has just unexpectedly died, stabbed by a jealous husband in Chicago. Fate’s in Detroit interviewing a former Black Panther, and feeling a little sick, when he gets the call. So he flies to Tucson, rents a car and drives south to Santa Teresa. There he befriends several Mexican journalists, from them he learns about the ongoing murders of women and young girls, one of them introduces him to Rosa Amalfitano. He’s persuaded by her father to take her back with him to the United States, and out of danger. But before they leave, they and another journalist, make a visit to the prison to interview one of the chief suspects in the murders, a very tall, blond German American called Klaus Haas.

The part about the murders
The longest of the parts chronicles murder after murder in a mixture of police procedural and true crime reportage. It chronicles, in seemingly endless clinical details, the tortured, mutilated and discarded corpses of women found in illegal dumps, by the side of the road, in the Sonoran Desert, and in the streets. Interspersed with these are the bored and uncaring majority of the police and a few frustrated officers who actually want to see the crimes solved, and whose efforts are continually frustrated.

The part about Archimboldi
Hans Reiter was a boy that liked to be underwater. Born in Prussia to a one-legged veteran of the Great War and a one-eyed mother, young Hans grew tall and clumsy. He loved to dive and became enamored of seaweed. When he walked on land he moved like a diver. He observed but did not interfere with others, “because he was a diver, which is to say he didn’t belong to their world, where he came only as an explorer or a visitor.”

An inattentive student he leaves school and after several failed attempts at a trade he goes to work with his mother as servant in an aristocrat’s home. There he meets and is befriended by the baron’s nephew, who introduces him to big city life in Berlin. But then, in 1939 Reiter is drafted into the Wehrmacht as an infantry soldier. As a tall soldier, he is an easy target for the enemy, but because of his seeming indifference to his own wellbeing, he accrues a fearless and heroic reputation. Wounded in Crimea he receives an Iron Cross, and is sent to a small village of abandoned houses behind the lines. There he discovers the journal of Boris Ansky, a Soviet Jew, which he finds fascinating. He reads of Ansky’s friendship with a Russian science fiction writer who falls out of favor with Stalin, and Ansky’s chaotic life following his friend’s death.

It’s in Ansky’s notebook, long before he sees a painting by the man, that Reiter first reads about the Italian painter Arcimbolo, Giuseppe, or Joseph or Josepho or Josephus Arcimoldo or Arcimboldi or Arcimboldus (1527-1593)

Reiter begins to dream about Ansky, and to become horrified at the thought that he might have been the soldier that killed him. He retreats back with the rest of the German Army, surrenders to the Americans, spends some time in a POW camp, released he drifts to Cologne. He is reunited with his girlfriend, they wander around getting what work they can, and Reiter begins to write. He rents a typewriter, and when the owner asks his name. “Reiter said the first thing that came into his head, ‘My name is Benno von Archimoldi.’”

He is also the uncle of Klaus Haas.

What can be said about a vast sprawling work like 2666? I think the author himself has an answer. In The part about Amalfitano, Professor Amalfitano muses about a conversation he had with a young pharmacist. To make conversation he asked him what he likes to read.

Without turning, the pharmacist answered that he like books like The Metamophosis, Bartleby, A Simple Heart, A Christmas Carol. And then he said that he was reading Breakfast at Tiffany’s. … there was something revelatory about the taste of this bookish young pharmacist …[he] clearly and inarguably preferred minor works to major ones. He chose The Metamophosis over The Trial, he chose … A Christmas Carol over A Tale of Two Cities or The Pickwick Papers. What a sad paradox, thought Amalfitano. Now even bookish pharmacists are afraid to take on the great, imperfect, torrential books, books that blaze paths into the unknown. They choose the perfect exercises of the great masters. Or what amounts to the same thing: they want to watch the great masters spar, but they have no interest in real combat, when the great masters struggle with something, that something that terrifies us all, that something that cows us and spurs us on, amid blood, and mortal wounds and stench.

And that’s what 2666 is, a great, imperfect, torrential book that terrifies us all about human existence and the inevitable evil that is inherent in the world we inhabit. Praise to Bolaño for his vivid prose and for Wimmer for translating it into English that sparkles. ( )
  MaowangVater | Mar 7, 2018 |
Showing 1-5 of 128 (next | show all)
”2066” är en av dessa sällsynta romaner man skulle kunna bosätta sig i.
Nu bör alla som inte redan skaffat och läst den ha slängt på sig halsduken i farten, störtat ut i hösten och vara i fullt fläng på väg mot närmaste bokhandel.

(Note: this is not the same review as the other one by the same reviewer. It concerns a different translation.)
added by Jannes | editDagens Nyheter, Jonas Thente (Oct 19, 2010)
Lever han upp till sina ambitioner? Tveklöst. ”2066” är en av dessa sällsynta romaner man skulle kunna bosätta sig i.
"2666" ist ein kühnes, wildes, hochexperimentelles Ungetüm von einem Roman. In der vorliegenden Form keineswegs perfekt - besonders der zweite, dritte und fünfte Teil haben große Längen -, ist er doch immer noch so ziemlich allem überlegen, was in den letzten Jahren veröffentlicht wurde.
added by lophuels | editFrankfurter Allgemeine Zeitung, Daniel Kehlmann (Oct 14, 2010)
Theorie her oder hin, "2666" ist ein ungeheuerlicher Wal von einem Roman, er bläst seine Fontänen hoch in den Äther.

» Add other authors (10 possible)

Author nameRoleType of authorWork?Status
Roberto Bolañoprimary authorall editionscalculated
Amutio, RobertTranslatorsecondary authorsome editionsconfirmed
Carmignani, IlideTranslatorsecondary authorsome editionsconfirmed
Hansen, ChristianTranslatorsecondary authorsome editionsconfirmed
Wimmer, NatashaTranslatorsecondary authorsome editionsconfirmed
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An oasis of horror in a desert of boredom. -Charles Baudelaire
For Alexandra Bolaño and Lautaro Bolaño
First words
The first time that Jean-Claude Pelletier read Benno von Archimboldi was Christmas 1980, in Paris, when he was nineteen years old and studying German literature.
Last words
Disambiguation notice
Volume 1 of the Italian edition of 2666 in two parts: La parte de los críticos; La parte de Amalfitano; La parte de Fate
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Information from the Italian Common Knowledge. Edit to localize it to your language.
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Amazon.com Amazon.com Review (ISBN 0312429215, Paperback)

Amazon Best of the Month, November 2008: It was one thing to read Roberto Bolaño's novel The Savage Detectives last year and have your mind thrilled and expanded by a sexy, meandering masterpiece born whole into the English language. It was still another to read it and know, from the advance reports of Spanish readers, that Bolaño's true masterpiece was still to come. And here it is: 2666, the 898-page novel he sprinted to finish before his early death in 2003, again showing Bolaño's mesmerizing ability to spin out tale after tale that balance on the edge between happy-go-lucky hilarity and creeping dread. But where the motion of The Savage Detectives is outward, expanding in wider and wider orbit to collect everything about our lonely world, 2666, while every bit as omnivorous, ratchets relentlessly toward a dark center: the hundreds of mostly unsolved murders of women in the desert borderlands of maquiladoras and la migra in northern Mexico. He takes his time getting there--he tells three often charming book-length tales before arriving at the murders--but when he does, in a brutal and quietly strange landscape where neither David Lynch nor Cormac McCarthy's Anton Chigurh would feel out of place, he writes with a horror that is both haunting and deeply humane. --Tom Nissley

(retrieved from Amazon Thu, 12 Mar 2015 18:03:07 -0400)

(see all 5 descriptions)

An American sportswriter, an elusive German novelist, and a teenage student interact in an urban community on the U.S.-Mexico border where hundreds of young factory workers have disappeared.

» see all 6 descriptions

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