Roberto Bolaño Quotes

Do you know what the worst thing about literature is? said Don Pancracio. I knew, but I pretended I didn't. What? I said. That you end up being friends with writers. And friendship, treasure though it may be, destroys your critical sense.

The first conversation began awkwardly, although Espinoza had been expecting Pelletier's call, as if both men found it difficult to say what sooner or later the would have to say. The first twenty minutes were tragic in tone, with the word fate used ten times and the word friendship twenty-four times. Liz Norton's name was spoken fifty times, nine of them in vain. The word Paris was said seven times, Madrid, eight. The word love was spoken twice, once by each man. The word horror was spoken six times and the word happiness once (by Espinoza). The word solution was said twelve times. The word solipsism seven times. The world euphemism ten times. The word category, in the singular and the plural, nine times. The word structuralism once (Pelletier). The term American literature three times. The words dinner or eating or breakfast or sandwich nineteen times. The words eyes or hands or hair fourteen times. The the conversation proceeded more smoothly.

No one knew what she was doing in Colonia Hidalgo, although it was most likely, according to the police, that she'd been taking a walk and had come upon death purely by chance.

The sky, at sunset, looked like a carnivorous flower.

And finally the two of them plunged into the dark sea, a sea like a pack of wolves, and they dove around the boat trying to find young Reiter's body, with no success, until they had to come up for air, and before they dove again, they asked the men on the boat whether the brat had surfaced. And then, under the weight of the negative response, they disappeared once more among the dark waves like forest beasts and one of the men who hadn't been in before joined them, and it was he who some fifteen feet down spotted the body of young Reiter floating like uprooted seaweed, upward, a brilliant white in the underwater space, and it was he who grabbed the body under the arms and brought him up, and also he who made the young Reiter vomit all the water he had swallowed.

If you're going to say what you want to say, you're going to hear what you don't want to hear.

I wrote this book for the ghosts, who, because they're outside of time, are the only ones with time. After the last rereading (just now), I realize that time isn't the only thing that matters, time isn't the only source of terror. Pleasure can be terrifying too, and so can courage.

I went on writing reviews for the newspaper, and critical articles crying out for a different approach to culture, as even the most inattentive reader could hardly fail to notice if he scratched the surface a little, critical articles crying out, indeed begging, for a return to the Greek and Latin greats, to the Troubadours, to the dolce stil nuovo and the classics of Spain, France and England, more culture! more culture! read Whitman and Pound and Eliot, read Neruda and Borges and Vallejo, read Victor Hugo, for God’s sake, and Tolstoy, and proudly I cried myself hoarse in the desert, but my vociferations and on occasions my howling could only be heard by those who were able to scratch the surface of my writings with the nails of their index fingers, and they were not many, but enough for me, and life went on and on and on, like a necklace of rice grains, on each grain of which a landscape had been painted, tiny grains and microscopic landscapes, and I knew that everyone was putting that necklace on and wearing it, but no one had the patience or the strength or the courage to take it off and look at it closely and decipher each landscape grain by grain, partly because to do so required the vision of a lynx or an eagle, and partly because the landscapes usually turned out to contain unpleasant surprises like coffins, makeshift cemeteries, ghost towns, the void and the horror, the smallness of being and its ridiculous will, people watching television, people going to football matches, boredom navigating the Chilean imagination like an enormous aircraft carrier. And that’s the truth. We were bored. We intellectuals. Because you can't read all day and all night. You can't write all day and all night. Splendid isolation has never been our style...