Next year marks the tenth anniversary of the death of Roberto Bolaño, the prolific genre-bender whose narratives and exile from Chile began seriously enchanting the literary world in 2005, the year The New Yorker began publishing his short stories. Altogether, nine stories have appeared in the magazine, including January’s “Labyrinth,” which accompanied a curious photograph. But I’ll get to that in a moment. First, a bit about Bolaño’s following, which may be credited in part to his early exit from said world at the age of 50, by way of liver failure. For the uninitiated, “Gomez Palacio,” his posthumous New Yorker debut about a tormented writer interviewing for a teaching post in a remote Mexican town, tends to work a kind of magic. A ragged copy of the issue in which “Gomez Palacio” appeared caught critic Francine Prose in a waiting room: “I was glad the doctor was running late,” she wrote later in reviewing Last Evenings on Earth, “so I could read the story twice, and still have a few minutes left over to consider the fact that I had just encountered something extraordinarily beautiful and (at least to me) entirely new.”
Francisco Goldman, who likened “The Great Bolaño” to Borges in a profile for The New York Review of Books, dates the ex-Chilean’s rise to 1999, the year The Savage Detectives won a coveted Venezuelan prize for the best Spanish-language novel. “The inseparable dangers of life and literature, and the relationship of life to literature, were the constant themes of Bolaño’s writings,” reads Goldman’s summary of his subject’s legacy, which at the time spanned ten novels and three story collections. (Bolaño’s drive to finish his 900-page masterwork, 2666, a far-flung novel involving the murders of women in the Sonora desert, is thought to have exacerbated his liver condition.) “It’s as if Bolaño is satirizing the routine self-pity of exile,” adds Goldman, in turning to one of his short fictions (“Mauricio ‘The Eye’ Silva”). “Yet the story’s mood of nearly inexpressible and lonely grief leaves you an intuitive sense of its truthfulness, which seems something other than a literal truthfulness.”