Woes of the True Policeman: A Novel - Softcover

Bolaño, Roberto

Softcover

ISBN 10: 1250037824 ISBN 13: 9781250037824

Publisher: Picador, 2013

Synopsis

Author of The Savage Detectives and 2666

Crushed by a devastating scandal, university professor Óscar Amalfitano flees Barcelona for Santa Teresa―a Mexican city close to the U.S. border, where women are being killed in staggering numbers. There, Amalfitano begins an affair with Castillo, a young forger of Larry Rivers paintings, while his daughter, Rosa, reeling from the weight of his secrets, seeks solace in a romance of her own. Yet when she finds her father in bed with Castillo, Rosa is confronted with the full force of her crisis.

What follows is an intimate police investigation of Amalfitano, leading to a finale of euphoria and heartbreak. Featuring characters and stories from The Savage Detectives and 2666, Roberto Bolaño's Woes of the True Policeman mines the depths of art, memory, and desire―and marks the culmination of one of the great careers of world literature.

About this title

About the Author

Roberto Bolaño was born in Santiago, Chile, in 1953. He grew up in Chile and Mexico City, where he was a founder of the Infrarealist poetry movement. He is the author of The Third Reich, The Savage Detectives, which received the Herralde Prize and the Rómulo Gallegos Prize, and 2666, which won the National Book Critics Circle Award. Bolaño died in Blanes, Spain, at the age of fifty.

Excerpt. © Reprinted by permission. All rights reserved.

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According to Padilla, remembered Amalfitano, all literature could be classified as heterosexual, homosexual, or bisexual. Novels, in general, were heterosexual. Poetry, on the other hand, was completely homosexual. Within the vast ocean of poetry he identified various currents: faggots, queers, sissies, freaks, butches, fairies, nymphs, and philenes. But the two major currents were faggots and queers. Walt Whitman, for example, was a faggot poet. Pablo Neruda, a queer. William Blake was definitely a faggot. Octavio Paz was a queer. Borges was a philene, or in other words he might be a faggot one minute and simply asexual the next. Rubén Darío was a freak, in fact, the queen freak, the prototypical freak (in Spanish, of course; in the wider world the reigning freak is still Verlaine the Generous). Freaks, according to Padilla, were closer to madhouse flamboyance and naked hallucination, while faggots and queers wandered in stagger-step from ethics to aesthetics and back again. Cernuda, dear Cernuda, was a nymph, and at moments of great bitterness a faggot, whereas Guillén, Aleixandre, and Alberti could be considered a sissy, a butch, and a queer, respectively. As a general rule, poets like Blas de Otero were butches, while poets like Gil de Biedma were—except for Gil de Biedma himself—part nymph and part queer. Recent Spanish poetry, with the tentative exception of the aforementioned Gil de Biedma and probably Carlos Edmundo de Ory, had been lacking in faggot poets until the arrival of the Great Faggot of All Sorrows, Padilla’s favorite poet, Leopoldo María Panero. And yet Panero, it had to be admitted, had fits of bipolar freakishness that made him unstable, inconsistent, and hard to classify. Of Panero’s peers, a curious case was Gimferrer, who was queer by nature but had the imagination of a faggot and the tastes of a nymph. Anyway, the poetry scene was essentially an (underground) battle, the result of the struggle between faggot poets and queer poets to seize control of the word. Sissies, according to Padilla, were faggot poets by birth who, out of weakness or for comfort’s sake, lived within and accepted—most of the time—the aesthetic and personal parameters of the queers. In Spain, France, and Italy, queer poets have always been legion, he said, although a superficial reader might never guess. What happens is that a faggot poet like Leopardi, for example, somehow reconstrues queers like Ungaretti, Montale, and Quasimodo, the trio of death. In the same way, Pasolini redraws contemporary Italian queerdom. Take the case of poor Sanguinetti (I won’t pick on Pavese, who was a sad freak, the only one of his kind). Not to mention France, great country of devouring mouths, where one hundred faggot poets, from Villon to Sophie Podolski, have nurtured, still nurture, and will nurture with the blood of their tits ten thousand queer poets with their entourage of philenes, nymphs, butches, and sissies, lofty editors of literary magazines, great translators, petty bureaucrats, and grand diplomats of the Kingdom of Letters (see, if you must, the shameful and malicious reflections of the Tel Quel poets). And the less said the better about the faggotry of the Russian Revolution, which, if we’re to be honest, gave us just one faggot poet, a single one. Who? you may ask. Mayakovsky? No. Esenin? No. Pasternak? Blok? Mandelstam? Akhmatova? Hardly. There was just one, and I won’t keep you in suspense. He was the real thing, a steppes-and-snow faggot, a faggot through and through: Khlebnikov. And in Latin America, how many true faggots do we find? Vallejo and Martín Adán. Period. New paragraph. Macedonio Fernández, maybe? The rest are queers like Huidobro, fairies like Alfonso Cortés (although some of his poems are authentically fagotty), butches like León de Greiff, butch nymphs like Pablo de Rokha (with bursts of freakishness that would’ve driven Lacan himself crazy), sissies like Lezama Lima, a misguided reader of Góngora, and along with Lezama all the queers and sissies of the Cuban Revolution except for Rogelio Nogueras, who is a nymph with the spirit of a faggot, not to mention, if only in passing, the poets of the Sandinista Revolution: fairies like Coronel Urtecho or queers who wish they were philenes, like Ernesto Cardenal. The Mexican Contemporaries are also queers (no, shouted Amalfitano, not Gilberto Owen!); in fact Death Without End is, along with the poetry of Paz, the “Marseillaise” of the highly nervous Mexican poets. More names: Gelman, nymph; Benedetti, queer; Nicanor Parra, fairy with a hint of faggot; Westphalen, freak; Pellicer, fairy; Enrique Lihn, sissy; Girondo, fairy. And back to Spain, back to the beginning: Góngora and Quevedo, queers; San Juan de la Cruz and Fray Luis de León, faggots. End of story. And now, to satisfy your curiosity, some differences between queers and faggots. Even in their sleep, the former beg for a twelve-inch cock to plow and fertilize them, but at the moment of truth, mountains must be moved to get them into bed with the pretty boys they love. Faggots, on the other hand, seem to live as if a dick were permanently churning their insides, and when they look at themselves in the mirror (something they love and hate with all their heart), they see the Pimp of Death in their own sunken eyes. For faggots and fairies, pimp is the one word that can cross unscathed through the realms of nothingness. But then, too, nothing prevents queers and faggots from being good friends, from neatly ripping one another off, criticizing or praising one another, publishing or burying one another in the frantic and moribund world of letters.
“You missed the category of talking apes,” said Amalfitano when Padilla at last fell silent.
“Ah, those talking apes,” said Padilla, “the faggot apes of Madagascar who refuse to talk so they don’t have to work.”


 
Copyright © 2011 by the heirs of Roberto Bolaño
ranslation copyright © 2012 by Natasha Wimmer

About this edition

• Publisher: Picador
• Publication date: 2013
• ISBN 10: 1250037824
• ISBN 13: 9781250037824
• Binding: Paperback
• Number of pages: 272