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编辑推荐Amazon.comAmazon Significant Seven, May 2007: The late Chilean writer Roberto Bolaño has been called the García Marquez of his generation, but his novel The Savage Detectives is a lot closer to Y Tu Mamá También than it is to One Hundred Years of Solitude. Hilarious and sexy, meandering and melancholy, full of inside jokes about Latin American literati that you don't have to understand to enjoy, The Savage Detectives is a companionable and complicated road trip through Mexico City, Barcelona, Israel, Liberia, and finally the desert of northern Mexico. It's the first of Bolaño's two giant masterpieces to be translated into English (the second, 2666, is due out next year), and you can see how he's influenced an era. --Tom Nissley Questions for Translator Natasha Wimmer Natasha Wimmer translated books by Mario Vargas Llosa and Bolaño's good friend Rodrigo Fresán, among others, before tackling Bolaño's two long novels, The Savage Detectives and the upcoming 2666, which have had an immeasurable impact on modern Latin American fiction (and perhaps now on Anglo American writing as well). We asked her a few questions about the process of bringing such a vast and vital book into English. Amazon.com: How did you come to literary translation, and to translating a work of such prestige? Is the community of Spanish-to-English literary translators small, given Americans' famous lack of interest in translated work?
The community of full-time translators is definitely small--it's hard to make a living. But there are many great occasional translators--professors, editors, writers. Amazon.com: We're told that Bolaño towers over his generation of writers (and I can believe it). What did he do that was new? What has his influence been? Wimmer: Bolaño was (is) the first to make a true break from the legacy of the Boom. Many other writers of his generation, and younger writers, too, have tried and are still trying to make a literature of their own, one that doesn’t languish in the long shadow of García Márquez, Mario Vargas Llosa, and the other novelists who exploded on the world scene in the 1960s. Bolaño made the leap seem effortless. The writers of the Boom put Latin America on the map. Bolaño creates a Latin America of the mind, a post-nationalist Latin America filtered through a rootless, restless, uncompromising literary sensibility. Amazon.com: Could you describe Bolaño's style and his sentences? (I love his parentheses.) How did you handle the dozens of voices in The Savage Detectives?
From the translator's perspective, some voices were definitely more difficult than others, but I rarely felt that I had to strain to make them distinct from each other. Mostly, it just involved following Bolaño's cues. The hardest thing, oddly enough, was getting the rhythm of his sentences right. There is something syncopated and unpredictable about them that would have been all too easy to smooth over as a translator, and I made a concerted effort not to do that. Amazon.com: All of his books are full of references to, and appearances by, Latin American writers both fictional and real and I'm sure as a clueless American reader I'm missing hundreds of inside jokes. What's it like to read his work when you actually know the people he's referring to? Wimmer: It adds a little something, but not as much as you might think. And many of his references are obscure even to Spanish-language readers. There is something cultish and purposefully arcane about the literary world that Bolaño's protagonist, García Madero, yearns to join, and like García Madero, the reader is entranced by authors' names and book titles without knowing exactly where they come from. Amazon.com: You are working on translating his other giant masterpiece, 2666, the even larger novel that he completed just before his death. How is it going? What can we expect from 2666? Wimmer: It's an extremely long novel (1100 pages in the Spanish edition ), so it's a test of stamina, but it's going very well. Like The Savage Detectives, it revolves around a lost writer (Cesárea Tinajero in TSD and Benno von Archimboldi in 2666), and the crucial episodes take place in the north of Mexico, but it is a darker book. The lurking sense of dread that many of the characters feel in TSD becomes something more palpable and sharply defined in 2666, and is linked to the killings of women in the Mexican city of Santa Teresa (modeled on Ciudad Juárez) and the legacy of the wars of the 20th century, particularly World War II. From Publishers Weekly Starred Review. This novel—the major work from Chilean-born novelist Bolaño (1953–2003) here beautifully translated by Wimmer—will allow English speaking readers to discover a truly great writer. In early 1970s Mexico City, young poets Arturo Belano (Bolaño's alter ego and a regular in his fiction) and Ulises Lima start a small, erratically militant literary movement, the Visceral Realists, named for another, semimythical group started in the 1920s by the nearly forgotten poet Cesárea Tinajero. The book opens with 17 year-old Juan García Madero's precocious, deadpan notebook entries, dated 1975, chronicling his initiation into the movement. The long middle section—written, like George Plimpton's Edie, as a set of anxiously vivid testimonies from friends, lovers, bystanders and a great many enemies—tracks Belano and Lima as they travel the globe from 1975 to the mid-1990s. There are copious, and acidly hilarious, references to the Latin American literary scene, and one needn't be an insider to get the jokes: they're all in Bolaño's masterful shifts in tone, captured with precision by Wimmer. The book's moving final section flashes back to 1976, as Belano, Lima and García Madero search for Cesárea Tinajero, with a young hooker named Lupe in tow. Bolaño fashions an engrossing lost world of youth and utopian ambition, as particular and vivid as it is sad and uncontainable. (Apr.) Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved. From Bookmarks Magazine Chilean novelist Roberto Bolaño, who died in 2003, won the prestigious Rómulo Gallegos Prize for The Savage Detectives (1998), a book he called "a love letter to my generation." By turns humorous and sad, this literary mystery also affirms the value of literature and serves as a modern history of the Latin American literary scene. Critics praised Bolaño's vivid, experimental novel, applauding Natasha Wimmer's skillful translation from the chatty, slang-filled Spanish. Though Richard Eder found fault with the "cacophonous Greek chorus" (Los Angeles Times) and others found the work too fragmentary, most critics regarded the technique as inventive and entertaining. Readers will be happy to hear that four of Bolaño's shorter works are currently available in English, and additional translations are planned. Copyright © 2004 Phillips & Nelson Media, Inc. International Praise for Roberto Bolaño and The Savage Detectives: “One of the most respected and influential writers of [his] generation . . . At once funny and vaguely, pervasively, frightening.” —John Banville, The Nation “The brightest hope for the future of South American literature.” —Andreas Breitenstein, Neuen Zürcher Zeitung “An event…The Savage Detectives [is] a brutal and lyrical vision of the last thirty years of the millennium.” —Fabienne Dumontet, Le Monde des Livres “A rare and fertile talent.” —Amaia Gabantxo, The Times Literary Supplement “Certain books go by too quickly. We wish they’d last longer and count the pages, not out of boredom, but out of anxiety at having to tell the characters goodbye. The Savage Detectives is one of these books…In the twists and turns of its mock-scholarly construction, The Savage Detectives succeeds in capturing both the fever of the past and the terrible, impossible yearning to have it back.” —Fabrice Gabriel, Les Inrockuptibles “Bolaño, it seemed to me, hovers over many young Latin American writers, even those in their 40s, the way Garciá Márquez must have over his generation and the following one.” —Francisco Goldman, The New York Times “Powerful and disorienting . . . [Bolaño’s] books are bursting with humour that is both raw and sophisticated.” —Angel Gurria-Quintana, The Financial Times “Bolaño is a prodigious storyteller on the level of Thomas Pynchon and Don DeLillo.” —Elena Hevia, El Periodico “The great Mexican novel of its generation . . . By turns sublime and sinister, The Savage Detectives is a magnificent portrait of an era—and of every era in which people experience literature as passionately as life itself.” —J. A. Masoliver Ródenas, La Vanguardia “Quite possibly the boldest author in Spanish literature today.” —Matthias Matussek, Der Spiegel “One of the most important novels in modern Latin-American literature.” —Rulo Melchert, Sächsischen Zeitung “[Bolaño's work is] something extraordinarily beautiful and (at least to me) entirely new…Reading Roberto Bolaño is like hearing the secret story, being shown the fabric of the particular, watching the tracks of art and life merge at the horizon and linger there like a dream from which we awake inspired to look more attentively at the world.” —Francine Prose, The New York Times Book Review “His generation’s premier Latin American writer…Bolaño’s reputation and legend are in meteoric ascent.” —Larry Rohter, The New York Times “The Savage Detectives gave us the first real signs that the parade of Amazonian roosters was coming to an end: it marked the beginning of the end for the high priests of the Boom and all their local color . . . It also introduced us to an astonishing writer who reminded us how much deep joy there was in the passion of reading and, at the same time, spent his days on the edge of an abyss that no one else had ever noticed. What was he doing there? He was writing, on a ledge overlooking the void. In retrospect, The Savage Detectives must be considered--along with his giant, posthumous 2666—one of the two major axes of Bolano’s extaordinary, already legendary work.” —Enrique Vila-Matas, Le Magazine Littéraire “Bolaño [is] the brightest literary star in the current Latin American panorama.” —El País |
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Wimmer: Luck, really. I lived in Spain when I was little, which is where I learned Spanish, and then I studied Spanish literature in college, but it was a job in publishing--at FSG, the publisher of The Savage Detectives--that made me realize that literary translation was something I could try. I’ve been translating now for eight years. My first project was a novel by the Cuban writer Pedro Juan Gutiérrez, Dirty Havana Trilogy, and since then I’ve worked on books by Mario Vargas Llosa, Gabriel Zaid, Rodrigo Fresán, and Laura Restrepo. When I read The Savage Detectives, I thought it was one of the best novels I had read in any language in years, but I was sure there was no chance I would get to translate it. Bolaño already had a great translator--Chris Andrews. But Andrews couldn't do it, and I was the extremely fortunate runner-up.
Wimmer: Bolaño is both a maximalist and a classicist. He loves to play with excess, with the notion of reckless abandon, but beneath that there is a very careful sense of balance. He was a poet for many years before he became a novelist, and he is an endlessly inventive stylist. But--more rarely for a poet--he also has an unerring sense of character and a palpable fondness for his characters. The Savage Detectives could never have worked otherwise. There are very few writers who could write a novel from the perspective of fifty-odd characters and make each character's story seem urgent and intimate.
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