They Want to Watch the Great Masters Spar

2666

Conclusion of Part 2

The Part About Amalfitano

Books on clotheslines, eliminating philosophers names from lists, voices from beyond the grave, wives sleeping with cab drivers for money, searching for poets...where do I start this post? As Bolano began the section with Amalfitano stating, "I don't know what I'm doing in Santa Teresa." Let me say I don't know the answer either after finishing this section!

Amalfitano is the focus of this section. We learn more about his estranged wife, Lola in the beginning of this part of 2666. Just like the critics in Part 1, Lola is also searching for an illusive literary figure. However, in this case the writer is someone that she does have a relationship. It is a poet who she met and had sex with at a party several years ago in Barcelona. We never learn the name of the poet. Perhaps this is because he is actually Archimboldi from Part 1?

This novel works like a puzzle. As I have mentioned before there is so much detail that it is difficult to decipher which parts are important and which parts are actually part of some sort of story arch. There are some unreliable narrators in this section, Amalfitano's story is in direct contrast to his wife's account. He claims that the first time that Lola heard about the Poet was when he provided her with a book of his work after they were married. Amalfitano also claims that the Poet is gay and Lola couldn't possibly have met him over an all night sexual escapade.

Exaggeration Is A Form of Polite Admiration

2666

Conclusion of Part 1

The Part About the Critics

Part of the fun of creating this blog is to look back on what your impressions were early on in a novel. In a previous post, I thought that the wheelchair would stop Morini and Liz Norton from sleeping together. Well spoiler alert it looks like I was wrong. Although they are together at the end of the section, it is unclear if they are involved sexually. For an author who gives a lot of detail there are still a lot of gaps and inferences that need to be applied by the reader. This is what makes experimental fiction so compelling.

It is interesting that there were some clues that Norton and Morini would get together.  Bolano did say something to the effect that the characters shared more that Archimboldi in common and we will get back to that later.

At the end of Part 1, some of our heroes have traveled to Mexico. Morini did not make the journey. They were following a tip that Archimboldi had recently been in Santa Teresa, Mexico.  A fictional city somewhere in the northwestern part of the country. The critics really want to find this reclusive author and get him the Nobel Prize or at the very least get the recognition as those who brought him to the podium.

The critics are all searching for something to take care of them and give life purpose. For Espinoza and Pelletier early on it seems that it is winning the love of Liz Norton. When the two men realize that this is not going to happen through her Dear John email to the both of them, they need to find another obsession. 

Pelletier finds his peace by reading and rereading Archimboldi's work. He takes the news from in an introverted and isolated manner. He spends his time at the hotel always alone and always with his eyes glued to the prose. 

Espinoza takes an extroverted approach. He finds a young girl named Rebecca who is a local rug merchant. He almost immediately gets sexually involved with her. Rebecca because of her age and experience is easily manipulated by the outgoing Espinoza. Everything about their encounter was meticulously documented. This is important because nothing about the threesome was detailed. We have no clue as to whether sex took place with Norton and Morini. 

This leads to Liz Norton.  She recovers from the breakup by turning to a reliable man, Moroni. I wonder if this connection would have even happened if Moroni had made the trip to Santa Rosa. When Norton returned to London it didn't take her very long to get her apartment and papers in order. I take this as a metaphor for how she aniticpated that it would take longer to move on from the abrupt conclusion to her prior relationship with Espinoza and Pelletier. Liz on her return quickly made a flight reservation to go see Morini.

A dream sequence where Liz was confused led her to a moment of real life clarity. The line that grabbed me was "Months before, I would've just drunk a glass of water and gone back to bed, but nothing would ever be the same again." She decided to sleep with him. As I mentioned previously there is little detail except that they love each other. 

The last lines of the critics are very interesting. It seems like nothing in this section was put in just to pass time. It is very apparent from Bolano's skill as a poet he does not waste words.  It is impossible not to look to a section and find something telling or insightful within the paragraphs.  I mean a perfect example would be looking at the final words of the critics in the section. This can't be random on incidental. 

Espinoza "I believe you." (of course his last line has the first person in it. It is also an affirmation of his support of Pelletier which Espinoza as extrovert expresses.)

Pelletier "Archimboldi is here and we're here, and this is the closest we'll ever be to him." (this line has his obsession with Archimboldi. It is a second period reference. Maybe I am searching here. I still find it fascinating)

Norton "I don't think that is a good idea. I'd rather sleep alone." (Her last line to the two men is also in complete contrast to what she does with Morini. Again, might be a stretch but I don't think it is an accident that this is the last true speaking line for Norton)

Norton "I know the two of you will understand (last line of her letter and also the final line of the section. There has to be something more here)

That is all for now on the part about the Critics. I am sure that other things will fill in as the novel progresses.  I am already excited to learn more about Almalfitano!