By Roberto Bolaño
An American sportswriter, an elusive German novelist, and a teenage scholar have interaction in an city neighborhood at the U.S.-Mexico border the place hundreds of thousands of younger manufacturing unit employees have disappeared.
summary: An American sportswriter, an elusive German novelist, and a teenage pupil have interaction in an city neighborhood at the U.S.-Mexico border the place 1000s of younger manufacturing facility staff have disappeared
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Extra info for 2666
He slept four or five hours a night and the rest of the time he spent at his desk. Before he finished his degree in German literature he wrote a twenty-page essay on the relationship between Werther and music, which was published in a Madrid literary magazine and a Göttingen university journal. By the time he was twenty-five he had completed both degrees. In 1990, he received his doctorate in German literature with a dissertation on Benno von Archimboldi. A Barcelona publishing house brought it out one year later.
But the Swabian had already said everything he had to say, and even though they coddled him and took him out to the best restaurant in Amsterdam and complimented him and talked to him about hospitality and extravagance and the fate of cultural promoters trapped in small provincial towns, it was impossible to get anything interesting out of him, although the four were careful to record every word he spoke, as if they’d met their Moses, a detail that didn’t go unnoticed by the Swabian and in fact heightened his shyness (which, according to Espinoza and Pelletier, was such an unusual trait in a former cultural promoter that they thought the Swabian must be some kind of impostor), his reserve, his discretion, which verged on the improbable omertà of an old Nazi who smells danger.
The next morning, Espinoza and Pelletier called at the publisher’s apartment, on the third floor of an old building in Hamburg’s upper town. As they waited they looked at the framed photographs on one wall. On the other two walls there were canvases by Soutine and Kandinsky, and several drawings by Grosz, Kokoschka, and Ensor. But Espinoza and Pelletier were much more interested in the photographs, which were almost all of writers they disdained or admired, and in any case had read: Thomas Mann with Bubis, Heinrich Mann with Bubis, Klaus Mann with Bubis, Alfred Döblin with Bubis, Hermann Hesse with Bubis, Walter Benjamin with Bubis, Anna Seghers with Bubis, Stefan Zweig with Bubis, Bertolt Brecht with Bubis, Feuchtwanger with Bubis, Johannes Becher with Bubis, Oskar Maria Graf with Bubis, bodies and faces and vague scenery, beautifully framed.