No, this isn't another reset of the Bolano/heroin thread. Rather, Chad Post makes a good addition to the Bolano myth discussion from last week. He notes some Latin American writers contra Bolano that are generally getting ignored:
Post-Garcia Marquez, it’s been near impossible for a non-magical realist from south of our borders to get published in America. A certain Isabel Allende-tainted vision of what “counted” as good Latin American literature came into being, and anything that didn’t fit that mold wasn’t marketable.
The “Crack group” (Jorge Volpi, Eloy Urroz, Ignacio Padilla, etc.) rose up as a response to this situation, this sort of pre-marketing that filters out certain types of literature in favor of more “marketable” books. And it would be foolish to pretend that marketing doesn’t play a role in which authors get published—especially in translation.
This is a great point, as the Crack group gets about zero visibility in the organs that are plastering Bolano to the wall. (On that score, I'm pleased to say that we reviewed the one Eloy Urroz book that's been published in English, we're going to review Volpi's book from Open Letter (plus have him on as part of a special section in the winter issue), and in the Best of Contemporary Mexican Fiction anthology that we reviewed earlier this year there are some Crack authors.)
Chad also shares this story about W.G. Sebald:
Another aspect of American cultural imperialism is our general arrogance that an author doesn’t exist until he/she is discovered by the American public. Although Bolano was huge in the Spanish-speaking world for years before his big novels were translated into English, there’s a tendency to treat him as a “new” author who has finally broke through. (Although the majority of reviews I read for 2666 and TSD were by really thoughtful, perceptive critics who were more engaged with the complexity of the work than with the myth of Bolano. So this is by no means a blanket statement.)
A good example of American publishing arrogance is what Scott Moyers said about W. G. Sebald on a “buzz panel” a few years back. I wrote about this at the time but his comment about how Sebald had been “getting his name out there a bit” thanks to New Directions, but that it was Random House’s publication of Austerlitz that put the “stamp of authority” on Sebald as one of Europe’s great writers still makes me vomit in my mouth a little bit.