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Santa Teresa, on the Mexico US border, is an urban sprawl that draws in lost souls. Among them are three academics on the trail of a reclusive German author; a New York reporter on his first Mexican assignment; a widowed philosopher; and a police detective in love with an elusive older woman. But there is darker side still to the town. It is an emblem of corruption, violence and decadence, and one from which, over the course of a decade, hundreds of women have mysteriously, often brutally, disappeared. Told in five parts, 2666 is the epic novel that defines one of Latin America's greatest writers and his unique vision of the modern world. Conceived on an astonishing scale, and in the last years of Roberto Bolano's life with burning, visionary commitment, it has been greeted across Europe and Latin America as his masterpiece, surpassing even his previous work in inventiveness, imagination, beauty and scope. 'A tour de force though the phrase seems hardly adequate to describe the novel's narrative velocity, polyphonic range, inventiveness, and bravery' New York Review of Books 'One of the giants of the post-Marquez era' Sunday Telegraph 'One of the greatest and most influential modern writers' James Wood
--このテキストは、絶版本またはこのタイトルには設定されていない版型に関連付けられています。
レビュー
"Bolano's masterwork . . . An often shockingly raunchy and violent tour de force (though the phrase seems hardly adequate to describe the novel's narrative velocity, polyphonic range, inventiveness, and bravery) based in part on the still unsolved murders of hundreds of women in Ciudad Juarez, in the Sonora desert near the Texas border." --FRANCISCO GOLDMAN, "The New York Review of Books" "Not just the great Spanish-language novel of [this] decade, but one of the cornerstones that define an entire literature." --J. A. MASOLIVER RODENAS, "La Vanguardia" "One of those strange, exquisite, and astonishing experiences that literature offers us only once in a very long time . . . to see . . . a writer in full pursuit of the Total Novel, one that not only completes his life's work but redefines it and raises it to new dizzying heights." --RODRIGO FRESAN, "El Pais """
"Bolano's savoir-faire is incredible ... The exploded narrative reveals a virtuosity that we rarely encounter, and one cannot help being bowled over by certain bravura passages--to single one out, the series of reports describing murdered young women, which is both magnificent and unbearable. We won't even mention the 'resolution' of this infernal 2666, a world of a novel in which the power of words triumphs over savagery." --Baptiste Liger, L'EXPRESS
"Splendid ... The jaw-dropping synthesis of a brief but incredibly fertile career." --Fabrice Gabriel, LES INROCKUPTIBLES
"The event of the spring: with 2666 Roberto Bolano has given us his most dense, complex, and powerful novel, a meditation on literature and evil that begins with a sordid newspaper item in contemporary Mexico." --Morgan Boedec, CHRONIC ART
"Includingthe imaginary and the mythic alongside the real in his historiography, without ever dabbling in the magical realism dear to many of his Latin-American peers, Bolano strews his chronicle with dreams and visions. As in the films of David Lynch (with whom Bolano's novel shares a certain kinship) these become a catalyst for reflection ... In such darkness, one must keep one's eyes wide open. Bolano invites us to do just that." --Sabine Audrerie, LA CROIX
"An immense moment for literature ... With prodigious skill and his inimitable art of digression, Bolano leads us to the gates of his own hell. May he burn in peace." --TECHNIKART
"Bolano constructs a chaos that has an order all its own ... The state of the world today transmuted into literature." --Isabelle Ruf, LE TEMPS
"To confront the reader with the horror of the contemporary world was Bolano's guiding ambition. He succeeded, to say the least. Upset, shocked, sometimes even sickened, at times one is tempted to shut the book because it's unbearable to read. Don't shut it. Far from being a blood-and-guts thriller meant to entertain, 2666 is a 'visceral realist" portrait of the human condition in the twenty-first century." --Anna Topaloff, MARIANNE
"On every page the reader marvels, hypnotized, at the capacity of this baroque writer to encompass all literary genres in a single fascinating, enigmatic story. No doubt many readers will find 2666 inexhaustible to interpretation. It is a fully realized work by a pure genius at the height of his powers." --LIRE
"His masterpiece ... Bolano borrows from vaudeville and the campus novel, from noir and pulp, from science fiction, from the Bildungsroman, from war novels; the tone of hiswriting oscillates between humor and total darkness, between the simplicity of a fairytale and the false neutrality of a police report." --Minh Tran Huy, LE MAGAZINE LITTERAIRE (Paris)
"The book explores evil with irony, without any theory or resolution, relying on storytelling alone as its saving grace... Each story is an adventure: a fresco at once horrifying, delicate, grotesque, redundant, and absurd, revealed by the flashlight of a child who stands at the threshold of a cave he will never leave." --Philippe Lancon, LIBERATION
"If THE SAVAGE DETECTIVES recounted the end of a century of avant-gardes and ideological battles, 2666, more radically, evokes the end of humanity as we know it. Apocalyptic in this sense, wavering between decomposition and totality, endlessly in love with people and books, Bolano's last novel ranges over the world and history like the knight Percival, who in Bolano's words 'wears his fool's motley underneath his armor.'" --Fabienne Dumontet, LE MONDE DES LIVRES (Paris)
"A work of genius: a work of immense lucidity and narrative cunning, written with a unique mixture of creative power and intimate existential desperation, the work of a master whose voice has all the authority and seeming effortlessness that we associate with the great classics of the ages ... It is impossible to read this book without feeling the earth shift beneath one's feet. It is impossible to venture deep into writing so unforgiving without feeling inwardly moved--by a shudder of fear, maybe even horror, but also by its need to pay attention, by its desire for clarity, by its hunger for the real." --Andres Ibanaz, BLANCO Y NEGRO
"Without a doubt the greatest of Bolano'sproductions ... The five parts of this masterwork can be read separately, as five isolated novels; none loses any of its brilliance, but what's lost is the grandeur that they achieve in combination, the grandeur of a project truly rare in fiction nowadays, one that can be enjoyed only in its totality." --Ana Maria Moix, EL PAIS
"Make no mistake, 2666 is a work of huge importance ... a complex literary experience, in which the author seeks to set down his nightmares while he feels time running out. Bolano inspires passion, even when his material, his era, and his volume seem overwhelming. This could only be published in a single volume, and it can only be read as one." --EL MUNDO
"An absolute masterpiece ... Bolano writes almost without adjectives, but in his prose this leads to double meanings. The narration is pure metonymy: it omits feelings in favor of facts. A phone call or a sex act can express real tragedy, the sweep of the vast human condition." --Andres Lomena, LA OPINION DE MALAGA
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カスタマーレビュー
最も参考になったカスタマーレビュー
15 人中、14人の方が、｢このレビューが参考になった｣と投票しています。
By Sebastian Flyte
VINE™ メンバー
形式:ペーパーバック|Amazon.co.jpで購入済み
本書は２００３年に亡くなったチリの作家ロベルト・ボラーニョの遺作の英訳版である。遺作ではあるが、未完ではない。約９００ページの超大作で、全体が５つのパートに分けられている。個人的には、パート１の書き出しを「なか見！検索」で読み、一気にその世界に引き込まれた。それはこう始まる。
The first time that Jean-Claude Pelletier read Benno von Archimboldi was Christmas 1980, in Paris, when he was nineteen years old and studying German literature. The book in question was D'Arsonval. The young Pelletier didn't realize at the time that the novel was part of trilogy (made up of the English-themed The Garden and the Polish-themed The Leather Mask, together with the clearly French-themed D'Arsonval), but this ignorance or lapse or bibliographical lacuna, attributable only to his extreme youth, did nothing to diminish the wonder and admiration that the novel stirred in him.
このフランス人青年が、やがて他の研究者３人とともに謎の作家Benno von Archimboldiを探しにメキシコのサンタテレサという町を訪れるというのがパート１の筋である。マイナーな作家を発掘していくという設定は、私にとってはそれだけでもう十分に面白い。パート１からパート４までは、多少相互に関係しあってもいるが、独立した話として読むことが可能である。その中でも圧巻なのは、メキシコのサンタテレサを中心に次々と起こる女性連続殺人事件が延々と描写されていくパート４である。そして、最後のパート５では謎の作家Archimboldiについて徐々に明らかにされていく。非常に興味深い章構成である。これらがどう絡むのか、また絡まないのか？また、はたして題名の「２６６６」は一体何を意味しているのか？
この作品は今年の全米批評家協会賞も受賞している。他の候補作のことは知らないが、文句なしの受賞だったはずである。日本語の翻訳は出るのか出ないのかは知らないが、少しでも興味がおありの方にはぜひ強く薦めたい小説である。見返しに印刷されているある推薦文にはこう書かれている。
Do not be put off by the length or apparent strangeness of this book; it is a work of stunning originality. If you read only one book this year make it this one.
The first time that Jean-Claude Pelletier read Benno von Archimboldi was Christmas 1980, in Paris, when he was nineteen years old and studying German literature. The book in question was D'Arsonval. The young Pelletier didn't realize at the time that the novel was part of trilogy (made up of the English-themed The Garden and the Polish-themed The Leather Mask, together with the clearly French-themed D'Arsonval), but this ignorance or lapse or bibliographical lacuna, attributable only to his extreme youth, did nothing to diminish the wonder and admiration that the novel stirred in him.
このフランス人青年が、やがて他の研究者３人とともに謎の作家Benno von Archimboldiを探しにメキシコのサンタテレサという町を訪れるというのがパート１の筋である。マイナーな作家を発掘していくという設定は、私にとってはそれだけでもう十分に面白い。パート１からパート４までは、多少相互に関係しあってもいるが、独立した話として読むことが可能である。その中でも圧巻なのは、メキシコのサンタテレサを中心に次々と起こる女性連続殺人事件が延々と描写されていくパート４である。そして、最後のパート５では謎の作家Archimboldiについて徐々に明らかにされていく。非常に興味深い章構成である。これらがどう絡むのか、また絡まないのか？また、はたして題名の「２６６６」は一体何を意味しているのか？
この作品は今年の全米批評家協会賞も受賞している。他の候補作のことは知らないが、文句なしの受賞だったはずである。日本語の翻訳は出るのか出ないのかは知らないが、少しでも興味がおありの方にはぜひ強く薦めたい小説である。見返しに印刷されているある推薦文にはこう書かれている。
Do not be put off by the length or apparent strangeness of this book; it is a work of stunning originality. If you read only one book this year make it this one.
Amazon.com で最も参考になったカスタマーレビュー (beta)
Amazon.com:
5つ星のうち 3.9
171件のカスタマーレビュー
269 人中、237人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 4.0
A writers novel
2008/11/20
By Stephen Balbach
- (Amazon.com)
形式:ハードカバー|Amazon.co.jpで購入済み
`2666` is a writers novel, best appreciated by academics (or so inclined) and other writers, often commenting on itself, the craft of writing and the creative process. For the average reader the ending lacks coherence, seemingly 900 pages of often depressing anecdotal tangents about death. It's a generous work in that regard, there are 100s of stories, within stories, most of them entertaining and worth reading, but characteristic of Bolano, they don't really "end" in any traditionally satisfying way - one doesn't read this novel to find out what happens - although paradoxically, mystery is what drives the book forward.
Bolano successfully breaks one of the basic rules of fiction writing - rather than showing what happens, he tells what happens, like a journalist. Thus he is able to say as much in one paragraph that others take in a chapter. Bolano says as much in 900 pages that might normally take 2500. He does not use line breaks and quotes for dialog (except in book 5), so there are often long blocks of text with no white space - it's a 900 page novel of high word count, but smooth reading. Ironically I never felt I was wasting my time, as if every detail mattered, even though I guess none of it did, all of it did.
The novel is certainly an investment of time and energy. I would recommend it to anyone interested in European avant-garde literature, Latin American literature, literature in translation and a sprawling kind of dreamy (strange) ambiguous work resistant to classification and open to interpretations.
Bolano successfully breaks one of the basic rules of fiction writing - rather than showing what happens, he tells what happens, like a journalist. Thus he is able to say as much in one paragraph that others take in a chapter. Bolano says as much in 900 pages that might normally take 2500. He does not use line breaks and quotes for dialog (except in book 5), so there are often long blocks of text with no white space - it's a 900 page novel of high word count, but smooth reading. Ironically I never felt I was wasting my time, as if every detail mattered, even though I guess none of it did, all of it did.
The novel is certainly an investment of time and energy. I would recommend it to anyone interested in European avant-garde literature, Latin American literature, literature in translation and a sprawling kind of dreamy (strange) ambiguous work resistant to classification and open to interpretations.
303 人中、266人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 3.0
a word from a non-extremist
2009/1/11
By a little fool
- (Amazon.com)
形式:ハードカバー
I, like most other readers, was first intrigued by the reviews of this book. From The New York Times and The New Yorker all the way down to my local paper, everyone had something to say about it. Dreamlike, epic, worldly, etc.
I don't normally purchase books, but I purchased this one.
I adored the first part, the second part, the last part, but the third part left me cold and confused and the fourth part, as you may have gathered thus far, is a collage of police response, political response, and personal responses to the hundreds of murders on the Mexico/US border.
I felt as though Bolano was trying to weave together his ability to write the personal narrative of a few characters, his ability to write almost fairy tale-like history, and an objective, raw account of reality. Instead of weaving them together, though, he placed them side-by-side, a sort of sampler plate of Bolano's abilities. It meant that most readers will most likely enjoy only some of the five sections.
His knowledge and perspective are astounding. The prose, when meant to be, is unique, intriguing, whimsical, or completely emotionless and succinct. Definitely written for a modern audience, as, unlike past authors, Bolano doesn't stretch anything beyond necessity, doesn't linger on any side story unless it's something the reader will inevitably feel to be vital. He keeps up a swift pace.
I recommend reading it. I recommend it for the pithy little quotations, for the little things that tie each part together, details from one clarifying mysteries from another, for the feeling that you're being taken on a crazy journey across multiple continents throughout the twentieth century, for the fact that you, as a reader, are bound to adore at least one of the five sections.
It's not perfect. We know that Bolano didn't have the opportunity to give it the time it deserved. But it's worth your time.
I don't normally purchase books, but I purchased this one.
I adored the first part, the second part, the last part, but the third part left me cold and confused and the fourth part, as you may have gathered thus far, is a collage of police response, political response, and personal responses to the hundreds of murders on the Mexico/US border.
I felt as though Bolano was trying to weave together his ability to write the personal narrative of a few characters, his ability to write almost fairy tale-like history, and an objective, raw account of reality. Instead of weaving them together, though, he placed them side-by-side, a sort of sampler plate of Bolano's abilities. It meant that most readers will most likely enjoy only some of the five sections.
His knowledge and perspective are astounding. The prose, when meant to be, is unique, intriguing, whimsical, or completely emotionless and succinct. Definitely written for a modern audience, as, unlike past authors, Bolano doesn't stretch anything beyond necessity, doesn't linger on any side story unless it's something the reader will inevitably feel to be vital. He keeps up a swift pace.
I recommend reading it. I recommend it for the pithy little quotations, for the little things that tie each part together, details from one clarifying mysteries from another, for the feeling that you're being taken on a crazy journey across multiple continents throughout the twentieth century, for the fact that you, as a reader, are bound to adore at least one of the five sections.
It's not perfect. We know that Bolano didn't have the opportunity to give it the time it deserved. But it's worth your time.
122 人中、105人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 5.0
Bolaño's Masterpiece - "a steaming cup of peyote."
2008/11/12
By Daniel Schmidt
- (Amazon.com)
形式:ハードカバー
According to Mrs. Bubis, wife of publisher Mr. Bubis, one of the only people alive that knew Benno von Archimboldi, "how well anyone could really know of another person's work?"
Reading "2666" by Roberto Bolaño, I feel the same way. It has been quite a journey for the English reader with a talent of his kind. From "By Night in Chile" to the chilling "Romantic Dogs," (which I finished a week before this novel) to "2666," one of Bolaño's "longer" works, preceded by the fantastic "Savage Detectives."
Much has been written (and will be) concerning this novel (see the great reviews, beginning with the one in the New York Times). In short, and without giving too much away, the story revolves around five intervals, which Bolano wanted to be released separately (in 5 year increments), involving a cast of characters as thick as the book itself. Part 1 (About the Critics) concerns four critics: Jean-Claude Pelletier from France, Manuel Espinoza from Spain, Piero Morini of Italy, and Liz Norton who, through their love of Archimboldi, come together and discuss and revel in the mysterious nature of the man. Part 2 (About Amalfitano) and Part 3 (About Fate) concerns a Chilean college professor, Amalfitano, and his dealings with his daughter and a strange geometry books; and an African-American, Quincy Williams aka Fate, who takes a assignment in Mexico covering a boxing match, which soon gets derailed due to his interest in the murders of the women detailed in the next chapter. Part 4 (About the Crimes) concerns the cornerstone of the novel, the parts tying all these people together: the murders of women, detailed by Bolaño, in the city of Santa Teresa (Cuidad Juárez) in the Sonora Desert in Northern Mexico on the US border. Part 5 (About Archimboldi) gives the final insights into our characters and ends the novel much as we began.
With Bolaño, it is the manner of his story-telling that wins him fans as well as enemies. In "2666," he pushes the boundaries that he may have placed on himself before his death in 2003. My favorite passage, in which Liz Norton realizes the genius of Archimboldi, gives you a sense of his style, if you have not read him before. This could also sum up how some readers felt reading Bolaño their first time they tried to pay attention:
"It was raining in the quadrangle, and the quadrangular sky looked like a grimace of a robot or a god made in our own likeness. The oblique drops of rain slid down the blades of grass in the park, but it would have no difference if they had slid up. Then the oblique (drops) turned round (drops), swallowed up by the earth underpinning the grass, and the grass and the earth seemed to talk, no, not talk, argue, their comprehensible words like crystallized spiderwebs or the briefest crystallized vomitings, a barely audible rustling, as if instead of drinking tea that afternoon, Norton had drunk a steaming cup of peyote."
His style is attractive and inviting (although for some the large blocks of text and absence of quotations is a turn off) and the story itself is superb. If this was unfinished. If this novel was not how Bolaño envisioned or felt represented him, help us all what a complete "2666" would look like. Nevertheless, this is Bolaño's masterpiece. The hype is for real.
Reading "2666" by Roberto Bolaño, I feel the same way. It has been quite a journey for the English reader with a talent of his kind. From "By Night in Chile" to the chilling "Romantic Dogs," (which I finished a week before this novel) to "2666," one of Bolaño's "longer" works, preceded by the fantastic "Savage Detectives."
Much has been written (and will be) concerning this novel (see the great reviews, beginning with the one in the New York Times). In short, and without giving too much away, the story revolves around five intervals, which Bolano wanted to be released separately (in 5 year increments), involving a cast of characters as thick as the book itself. Part 1 (About the Critics) concerns four critics: Jean-Claude Pelletier from France, Manuel Espinoza from Spain, Piero Morini of Italy, and Liz Norton who, through their love of Archimboldi, come together and discuss and revel in the mysterious nature of the man. Part 2 (About Amalfitano) and Part 3 (About Fate) concerns a Chilean college professor, Amalfitano, and his dealings with his daughter and a strange geometry books; and an African-American, Quincy Williams aka Fate, who takes a assignment in Mexico covering a boxing match, which soon gets derailed due to his interest in the murders of the women detailed in the next chapter. Part 4 (About the Crimes) concerns the cornerstone of the novel, the parts tying all these people together: the murders of women, detailed by Bolaño, in the city of Santa Teresa (Cuidad Juárez) in the Sonora Desert in Northern Mexico on the US border. Part 5 (About Archimboldi) gives the final insights into our characters and ends the novel much as we began.
With Bolaño, it is the manner of his story-telling that wins him fans as well as enemies. In "2666," he pushes the boundaries that he may have placed on himself before his death in 2003. My favorite passage, in which Liz Norton realizes the genius of Archimboldi, gives you a sense of his style, if you have not read him before. This could also sum up how some readers felt reading Bolaño their first time they tried to pay attention:
"It was raining in the quadrangle, and the quadrangular sky looked like a grimace of a robot or a god made in our own likeness. The oblique drops of rain slid down the blades of grass in the park, but it would have no difference if they had slid up. Then the oblique (drops) turned round (drops), swallowed up by the earth underpinning the grass, and the grass and the earth seemed to talk, no, not talk, argue, their comprehensible words like crystallized spiderwebs or the briefest crystallized vomitings, a barely audible rustling, as if instead of drinking tea that afternoon, Norton had drunk a steaming cup of peyote."
His style is attractive and inviting (although for some the large blocks of text and absence of quotations is a turn off) and the story itself is superb. If this was unfinished. If this novel was not how Bolaño envisioned or felt represented him, help us all what a complete "2666" would look like. Nevertheless, this is Bolaño's masterpiece. The hype is for real.
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