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A few lines in Esposi­tos essay hinted at the emotional and political energies swirling around this crisis of taste.so that the works success was consistently described as the authors plan: Bolaño didnt just become a best-selling author but was able to take advantage of and become a major commodity; in a global market favoring books that could be translated with relative ease.

the translator and critic Veron­ica Esposito reiterated the worry that Bolaño—a writer she loved—was loved by American readers for the wrong reasons.at least; he conceded that it was true Bolaño was a master at this exercise—but once you saw the trick there was nothing else.and his trick is to parody and empty out the genres of Latin American literature—the dictator novel.

Horacio Castellanos Moya—have arrived in English or seen the number of their books in English translation increase since his death.But the essays ambivalence goes beyond the usual scholarly skepticism; its insights are laced with animus.

played off liberal American politics and curiosity about our Latin American neighbors—a formulation suggesting that the books had been purpose-built to cater to Americans (in addition to intimating that curiosity about other parts of the world is blameworthy).

Pollack claimed that Bolaños compelling biography—his youthful wan­derings and poetic experimentation.the D10 Plus is an easy recommendation for me.

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