Bolaño on working writers

No one forces you to write. The writer enters the labyrinth voluntarily—for many reasons, of course: because he doesn’t want to die, because he wants to be loved, etc.—but he isn’t forced into it. He’s no more forced than a politician is forced into politics or a lawyer is forced into law school. The great advantage for the writer is that the lawyer or the politician, outside his country of origin, tends to flounder like a fish out of water, at least for a while—whereas a writer outside his native country seems to grow wings. The same thing applies to other situations. What does a politician do in prison? What does a lawyer do in the hospital? Anything but work. What, on the other hand, does a writer do in prison or in the hospital? He works. Sometimes he works a lot (not to mention poets). Of course the claim can be made that in prison the libraries are no good and that in hospitals there often are no libraries. It can be argued that in most cases exile means the loss of the writer’s books, among other material losses, and in some cases even the loss of his papers, his unfinished manuscripts, projects, letters. It doesn’t matter. Better to lose manuscripts than lose your life. The point is that the writer works wherever he is, even while he sleeps, which isn’t true of those in other professions. Actors, it can be said, are always working, but it isn’t the same: the writer writes and is conscious of writing, whereas the actor, under great duress, only howls. Policemen are always policemen, but that isn’t the same either, because it’s one thing to be and another to work. The writer is and works in any situation. The policeman only is. And the same is true of the professional assassin, the soldier, the banker. Whores, perhaps, come closest in the exercise of their profession to the practice of literature.

Bolaño, Roberto. Between Parentheses: Essays, Articles, and Speeches, 1998–2003. Translated by Natasha Wimmer, New Directions Books, 2011: 57.

Third novel out to alphas

My third novel is out to alpha readers (many thanks to them). It took four years and four months to research and write with a 19-month hiatus in the middle. That’s nearly double the time it took to write the others. I’m grateful to all the places I sat writing in the notebook, usually at a bar or bookshop somewhere in the city (before COVID-19). I’m especially grateful to the following people for their inspiration: Ricardo Piglia (specifically Target in the Night), Esperanza Marie, Esther Vigil, Chris Dire, Roberto Bolaño (specifically The Unknown University), Chris Ransick, The Ancient Mariner, and the town of Salida, Colorado.

Library, by Roberto Bolaño

Wreckage

Books I buy

Between the strange rains

And heat

Of 1992

Which I’ve already read

Or will never read

Books for my son to read

Lautaro’s library

Which will need to resist

Other rains

And other scorching heats

— Therefore, the edict is this:

Resist, my dear books, 

Cross thy days like medieval knights

And care for my son

In the years to come

 

 

(From Two Poems For Lautaro Bolaño)

Bolaño’s literary kitchen

BetweenParentheses

“In my ideal literary kitchen there lives a warrior, whom some voices (disembodied voices, voices that cast no shadow) call a writer. This warrior is always fighting. He knows that in the end, no matter what he does, he’ll be defeated. But he still roams the literary kitchen, which is built of cement, and faces his opponent without begging for mercy or granting it.”

— Roberto Bolaño