Bolano’s Translators

Natasha Wimmer and Chris Andrews, together for the first time?

The evening began with Andrews reading a paper on key elements of Bolaño’s “fiction-making system.” “What is this system?” Andrews said: “How does it work? Bolaño’s fiction invites us to read it genetically, looking for traces of method in the finished work,” Andrews said. “[There are] three procedures that can be discerned by genetic reading: expansion, meta-representation, and the circulation of characters.” These methods are not new literary devices, but are utilized brilliantly by Bolaño. For example, Andrews compared Bolaño reccuring characters to a technique used by Balzac and even James Fenimore Cooper. Regarding Bolano’s use of story expansion, Andrews noted that “Bolaño himself explains in a preface to Distant Star that he blew up the final chapter of Nazi Literature in the Americas because he ‘would have preferred a longer story that, rather than mirroring or exploding others, was, in itself, a mirror and an explosion.'” Andrews concluded his portion of the evening by talking about Bolano’s naturalness, or his “impression of ease” (a phrase he borrows from Nora Catelli). “Bolaño seemed to have been a compulsive storyteller,” said Andrews, “and where other Spanish writers seem to struggle with placing a philosphy or idea within plot, Bolaño was able to do this without much seeming effort.”

The discussion was then handed to Wimmer, who gave a fascinating talk about her translation process. She begins, she says, with a literal translation and then works from that to obtain a true translation. She brought up many conundrums a translator faces, such as the struggle to give lift to even the most banal sentences; when to break run-on sentences; how to find voices within Bolaño’s work; and how to translate slang. “Spanish,” Wimmer said, “maintains steady rhythm in its syntax, whereas English comes off as free-jazz.” She mentioned that the most difficult part of 2666 to translate was in “The Part about Fate,” Seaman’s long, folksy monologue about the Black Panthers and cookbook recipes.

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I’ve read 2666. I remember the Part about Fate. I don’t recall anything remotely resembling “Seaman’s long, folksy monologue about the Black Panthers and cookbook recipes.” Clarification, please!

Michael: Fate goes to Detroit to write an article on an old Black Panther named Barry Seaman. Seaman speaks about his past, other subjects at a church. He includes a few recipes in his talks. I believe because Seaman has published a few books of them. At least one reader has cooked one of the recipes:



The Surrender is Veronica Scott Esposito’s “collection of facts” concerning how she embraced her true gender.


Two long essays of 10,000 words each on sex in—and out of—literature . . .

The first essay dives in to Nicholson Baker’s “sex trilogy,” explaining just what Baker is up to here and why these books ultimately fail to be as sexy as Baker might wish.

From there the book moves on to the second essay, which explains just why Spaniard Javier Marías does right what Baker does wrong . . .


5 essays. 2 interviews.

All in all, over 25,000 words of Latin American literary goodness.

3 never-before-published essays, including “The Digression”—a 4,000-word piece on the most important digression in César Aira’s career.

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